tag:blogger.com,1999:blog-294902572012-01-30T17:16:21.976+05:30Third EyeThis blog is about all neglected things in the area of culture and literature of Karnataka(India).Marginalized, suppressed facts and feelings will get a place holder here.Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.comBlogger311100tag:blogger.com,1999:blog-29490257.post-4021114547555142702012-01-18T00:00:00.000+05:302012-01-18T00:21:11.579+05:30Tantra,Siddha samparadaya, Natha, Buddhist Nagarjuna and Indian poetics<div dir="ltr" style="text-align: left;" trbidi="on"><br /><div class="MsoNormal" style="margin-left: 36pt; text-align: right;"><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 14pt;"><u><b>Approach paper 1:</b><b>Refutation of dualistic and non dulalistic philosophies in the context of Indian Aesthetics.</b></u></span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: right;"><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 14pt;"><b>(</b>This approach paper is written for the seminar on <i>Shramanic schools of philosophies and Kannada poetics</i> , Jan 21 and 22,2012 organized at Kuppalii village in Shivamogga district, Karnataka, India<b>)</b></span></div><div class="MsoNormal" style="margin-left: 36pt; text-align: right;"><span style="font-family: Tunga, sans-serif;"><span style="font-size: 19px;"><b><br /></b></span></span></div><div align="right" class="MsoNormal" style="margin-left: 36.0pt; text-align: right;"><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 14pt;"> <b>- Dr.G.B.Harisha</b><o:p></o:p></span><br /><span style="font-family: Tunga, sans-serif;"><span style="font-size: 19px;"><b><br /></b></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-MPP0OJubL1U/TxXBSfaeo8I/AAAAAAAAADg/_H_8OnviYyo/s1600/ABHINAVAimages.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-MPP0OJubL1U/TxXBSfaeo8I/AAAAAAAAADg/_H_8OnviYyo/s1600/ABHINAVAimages.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Abhinavagupta pada</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Q0zePUYtduY/TxXBVr8w4QI/AAAAAAAAADo/tPmtyAFgbgM/s1600/adi-shankaracharya.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://3.bp.blogspot.com/-Q0zePUYtduY/TxXBVr8w4QI/AAAAAAAAADo/tPmtyAFgbgM/s200/adi-shankaracharya.jpg" width="191" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Acharya Shankara</td></tr></tbody></table><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 14pt;"><b><br /></b></span><br /><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 14pt;"><b><br /></b></span></div><div class="MsoNormal" style="margin-left: 39.3pt; mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">1.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">The contribution of advaita for thedevelopment of idealistic philosophy is immense.However the present paper triesto find out different philosophical voices of little tradition in Indiandarshana.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 39.3pt; mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">2.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">The shankara adavaita is known by differentnames such as Kevaladvaita, Brahmadvaita, Aupanishadika advaita.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 39.3pt; mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">3.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">Scholars have discussed about the maindifferences between the shankara adavita and natha sampradaya mainly on thepoint of Moksha(liberation).<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-size: 15pt;">The main differences are summarized below:<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 39.3pt; mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">4.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">Viewpoints of Nathatheory and Shankara theory on liberation.</span><span lang="EN-US" style="font-size: 15pt;"><o:p></o:p></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 15pt;"> </span><b><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 15pt;"><o:p></o:p></span></b></div><div class="MsoNormal"><b><span lang="EN-US" style="font-size: 15pt;">a.</span></b><span lang="EN-US" style="font-size: 15pt;">Mokshacan be attained not<b> by mere </b>knowledgebut by sadhana(practice).ie.,Not merely by having the sword (Knowledge), but bythe parakarma(valour).(</span><b><span lang="EN-US" style="font-size: 15pt;">Natha</span></b><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 15pt;">)</span><span lang="EN-US" style="font-size: 15pt;"><o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-US" style="font-size: 15pt;">Moksha can beattained not<b> by mere </b>knowledge.(</span><b><span lang="EN-US" style="font-size: 15pt;">Shankara)<o:p></o:p></span></b></div><div class="MsoNormal"><b><span lang="EN-US" style="font-size: 15pt;">b.</span></b><span lang="EN-US" style="font-size: 15pt;">The darshana of Gorakhanatha isknown as dvaitadvaita vilakshnavadi(</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 15pt;">zÉéöÊvÁzÉéöÊvÀ «®PÀëtªÁ¢Ã).</span><span lang="EN-US" style="font-size: 15pt;"> )(</span><b><span lang="EN-US" style="font-size: 15pt;">Natha</span></b><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 15pt;">)</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 15pt;"><o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-US" style="font-size: 15pt;">The darshana of shankara is known as Adaitavadi.</span><span lang="EN-US" style="font-size: 15pt;"> .(</span><b><span lang="EN-US" style="font-size: 15pt;">Shankara)<o:p></o:p></span></b></div><div class="MsoNormal"><b><span lang="EN-US" style="font-size: 15pt;">c.</span></b><span lang="EN-US" style="font-size: 15pt;">Gorakhnatha questions adavita inthe following words:yadi brahmadvaita masti tarhi(when brahmadvaitaif saelf isnot the final reality there where does comes this dvaita?)<b><o:p></o:p></b></span></div><div class="MsoNormal"><br /></div><div class="MsoNormal" style="margin-left: 39.3pt; mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">5.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">How advaitha is not the ultimate perception according toNatha sampradaya?</span><span lang="EN-US" style="font-size: 15pt;"> GorakshaSidhanta Sangraha </span><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 15pt;">(</span><span lang="KN" style="font-size: 15pt;">here onwards mentioned as</span><span lang="KN" style="font-family: Tunga, sans-serif; font-size: 15pt;"> </span><span lang="EN-US" style="font-size: 15pt;">GSS), a prominent Natha text has discussed about theprocess of creation according to Natha sampradaya view.The whole discussion canbe summarized as follows.</span><b><span lang="EN-US" style="font-size: 15pt;"><o:p></o:p></span></b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span lang="EN-US" style="font-size: 15pt;">According to </span><span lang="EN-US" style="font-size: 15pt;">GSS</span><span lang="EN-US" style="font-size: 15pt;"> the creation occurs asmentioned below.<a href="file:///C:/Users/Harish/Desktop/natha%20sampradaya%20and%20poetics.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 15pt;">[1]</span></span></span></a><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 72.0pt; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">a)<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">Natha is above form(<i>Sakara)</i> and formless( <i>Nirakara)</i><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 72.0pt; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">b)<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><i><span lang="EN-US" style="font-size: 15pt;">NirakaraJyotiswarupa natha(natha is formless form of light)</span></i><span lang="EN-US" style="font-size: 15pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 72.0pt; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">c)<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><i><span lang="EN-US" style="font-size: 15pt;">Sakara</span></i><span lang="EN-US" style="font-family: Tunga, sans-serif; font-size: 15pt;"> </span><i><span lang="EN-US" style="font-size: 15pt;">natha(natha with form)</span></i><span lang="EN-US" style="font-size: 15pt;"> is born out of the above.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 72.0pt; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">d)<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">Sadashiva Bhairava and Bhairavi Shakti areborn out of the will (iccha) of SakaraNatha.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 72.0pt; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">e)<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">Vishnu is born out of <i>Bhairava </i>and<i> Bhairavi</i>.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 72.0pt; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">f)<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">Brahma creates the world in the fom ofboth: a. <i>Nadarupa</i>, b.<i> Bindurupa</i><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 72.0pt;"><br /></div><div class="MsoListParagraph"><br /></div><div class="MsoNormal" style="margin-left: 39.3pt; mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="font-size: 15pt;">6.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span lang="EN-US" style="font-size: 15pt;">Which means there is <i>paratatva</i> (ultimate reality)even above advaita, which is above theSakara and Nirakara. From Nathist view, both the advaita brahma and nirakarabrahma of Shankara Philosophy seems to be fallen from the higher abode of theultimate reality(paratatva).<o:p></o:p></span></div><div class="MsoNormal"><span lang="EN-US" style="font-size: 15pt;"> Natha is the ultimate <i>paratpara paratatva</i> in nathism, is aboveadvaita tatva and nirakara is one of the works of Natha</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 15pt;">.<o:p></o:p></span></div><div><br /><hr align="left" size="1" width="33%" /><div id="ftn1"><div class="MsoNormal" style="margin-left: 36.0pt;"><a href="file:///C:/Users/Harish/Desktop/natha%20sampradaya%20and%20poetics.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;">[1]</span></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 11pt;">Here from Natha tocreation of Brahma through nada and bindurupa involves six steps.The poetic imagination which is beyond alltheories both aesthetical and socio-cultural can be interpreted using thecreation model given by Nathists.</span><span lang="EN-US" style="font-size: 15pt;"><o:p></o:p></span></div><div class="MsoFootnoteText"><b style="background-color: yellow;">to read the entire article please contact:harishagb@gmail.com</b><br /><br /></div></div></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-402111454755514270?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-52853056794557688512012-01-12T23:29:00.000+05:302012-01-12T23:29:08.599+05:30A book on Tantra shastra by Dr G.B.Harisha<div dir="ltr" style="text-align: left;" trbidi="on"><br /><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 24pt;">vÀAvÀæ±Á¸ÀÛç<o:p></o:p></span></b></div><div align="right" class="MsoNormal" style="mso-layout-grid-align: none; text-align: right; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 14pt;">- qÁ.f.©.ºÀjñÀ</span></b><b><span lang="EN-US" style="font-family: 'BRH JHK02';"><o:p></o:p></span></b></div><div align="center" class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><br /></div><div align="center" class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 16pt; line-height: 120%;">§AiÀÄ®£ÀÄ vÀÄA§ÄªÀ D®AiÀÄzÀ ¨É¼ÀQ£À ©ÃdUÀ¼ÀÄ</span></b><b><span lang="EN-US" style="font-family: 'BRH JHK02';"><o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">PÀ£ÀßqÀ «±Àé«zÁå®AiÀÄ PÀ£ÀßqÀ ¸ÀA¸ÀÌøwAiÀÄ §ºÀÄvÀézÀ £É¯ÉUÀ¼À£ÀÄß ºÀÄqÀÄPÀĪÀ, UÀnÖUÉƽ¸ÀĪÀ, ºÀgÀqÀĪÀ PÁAiÀÄPÀªÀ£ÀÄß £ÉÆÃA¦AiÀÄAvÉ £ÀqɹPÉÆAqÀÄ §A¢zÉ. 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C«zÉå CeÁÕ£ÀUÀ½AzÀ CªÀÈvÀÛgÁzÀªÀgÉ®è ¥À±ÀÄUÀ¼ÉÃ. EAzÁæ¢UÀ½UÀÆ EzÀÄ C£Àé¬Ä¸ÀÄvÀÛzÉ. eÁÕ£À«vÀÄÛ ¥À±ÀĪÀ£ÀÄß ªÀiÁ£ÀªÀ£ÁßVAiÉÆà zÉêÀvÉAiÀÄ£ÁßVAiÉÆà ªÀiÁqÀĪÀ ¥ÀgÀªÉÄñÀégÀ£Éà vÀAvÀæUÀ¼À gÀZÀ£ÉUÉ ¥ÉæÃgÀPÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (1982, ¥ÀÄ 80) JA¢zÁÝgÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> JA§ ¥ÀzÀzÀ ¥Àæ¥ÀAZÀªÉà zÉÆqÀØzÀÄ. E£ÀÄß vÀAvÀæ ¥Àæ¥ÀAZÀzÀ §UÉÎ JµÀÄÖ ºÉüÀĪÀÅzÀÄ? ®QëöäÃzsÀgÀ£À ªÁåSÁå£À ªÀÄvÀÄÛ ©. ¥ÀÄlÖ¸ÁéªÀÄAiÀÄå£ÀªÀgÀ ªÀiÁvÀÄUÀ¼À£ÀÄß DzsÀj¹ vÀAvÀæzÀ ««zsÀ DAiÀiÁªÀÄUÀ¼À£ÀÄß »ÃUÉ ¸Àé®àªÀÄnÖUÉ PÉÆæÃrüÃPÀj¸À§ºÀÄzÀÄ:<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">¸ÀASÉå. vÀAvÀæUÀ¼ÀÄ CªÀÅUÀ¼À PÁgÀåPÉëÃvÀæ<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">1. ªÀĺÁªÀiÁAiÀiÁ ±ÀA§gÀ ªÀiÁAiÀiÁ ¥Àæ¥ÀAZÀ ¤ªÀiÁðt, ¨sËvÀªÀ¸ÀÄÛ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">2. ªÉÆû¤Ã eÁ® ±ÀA§gÀ gÀZÀ£ÉAiÀÄ°è ªÀiÁ¥ÁðlÄ,<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. vÀvÀé±ÀA§gÀ CVß-d® vÀvÀé±ÉÆÃzsÀ£É<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">4. ¹zÀÞ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">5. ªÀlÄPÀ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">6. PÀAPÁ® ¤¢ü ªÀÄvÀÄÛ R¤dUÀ¼À ±ÉÆÃzsÀ£É<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">7. PÁ® F JAlPÉÌ (4-11) ¨sÉÊgÀªÁµÀÖPÀ JAzÀÄ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">8. PÁ¯ÁVß ºÉ¸ÀgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">9. AiÉÆÃV¤<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">10. ªÀĺÁ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">11. ±ÀQÛ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">12. P˪ÀiÁj<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">13. ¨Áæ»ä EªÀÅ ¹ÛçÃ¥ÀæzsÁ£À vÀAvÀæUÀ¼ÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">14. ªÀĺÉñÀéj ªÀÄÄRåªÁV ®°vÀ PÀ¯ÉUÀ¼ÀÄ (¸ÀAVÃvÀ,<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">15. ªÉʵÀÚ«Ã £Álå, £ÁlPÀ, avÀæPÀ¯É ªÀÄvÀÄÛ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">16. ªÁgÁ» ¥Àæ¸ÁzsÀ£À ªÀ¸ÀÄÛUÀ¼ÀÄ gÀZÀ£ÉUÉ ¸ÀA§A¢ü¹zÀ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">17. ªÀiÁºÉÃA¢æ vÀAvÀæUÀ¼ÀÄ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">18. ZÁªÀÄÄAqÁ <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">19. ²ªÀzÀÆwÃ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">20.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">21. ¹ÛçÃ-¥ÀÄgÀĵÀgÀ ¨sÉÆÃUÀ, PÁªÀÄfêÀ£À,<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">22. DºÁgÀ «ºÁgÀUÀ¼À£ÀÄß PÀÄjvÀ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">23. vÀAvÀæUÀ¼ÀÄ. AiÀĪÀļÀ JAzÀgÉ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">24. AiÀĪÀļÁµÀÖPÀ eÉÆÃr, «ÄxÀÄ£À JAzÀÄ CxÀð.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">25. (20-27)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">26.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">27. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">28. ªÀĺÁwæ¥ÀÄgÀ ¸ÀÄAzÀjÃ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">29. PÁªÉÄñÀéjÃ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">30. ¨sÀUÀªÀiÁ°¤Ã<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">31. ¤vÀåQè£Áß 28-43 : EzÀPÉÌ ZÀAzÀæeÁÕ£À<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">32. ¨sÉÃgÀÄAqÁ «zÉå JAzÀÄ ºÉ¸ÀgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">33. ªÀ»ßªÁ¹¤Ã ZÀAzÀæ£À ºÀ¢£ÁgÀÄ PÀ¯É (µÉÆÃqÀ²)UÀ¼À<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">34. ªÀĺÁ«zÁå G¥Á¸À£É<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">35. F±ÀéjÃ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">36. zÀÆw<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">37. vÀéjvÁ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">38. PÀÄ®¸ÀÄAzÀjÃ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">39. ¤Ã®¥ÀvÁPÁ «dAiÀiÁ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">40. ¸ÀªÀðªÀÄAUÀ¯Á<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">41. eÁé¯ÁªÀiÁ°¤<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">42. avÁæ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">43. ¸ÀaÑzÁ£ÀAzÀ ¸ÀégÀƦtÂÃ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">44. ªÀiÁ°¤ ¸ÀªÀÄÄzÀæAiÀiÁ£À AiÀÄAvÀæUÀ¼À gÀZÀ£É, ¥ÀæAiÉÆÃUÀ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">45. ªÀĺÁ¸ÀAªÉÆúÀ£À/ªÁvÀÄ® JZÉÑvÀÛªÀªÀgÀ£ÀÄß ¤zÉæUÉ J¼ÉAiÀÄĪÀ «zÉå<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">46. ªÁvÀįÉÆÃvÀÛgÀ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">47. PÁ«ÄPÀ EzÀgÀ°è£À 3 vÀAvÀæUÀ¼ÀÄ DPÀµÀðzÁ, ªÀ²ÃPÀgÀt, <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';"> ¸ÀAªÉÆúÀ£À PÀÄjvÀªÀÅ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">48. ºÀÈzÉãÃzÀ AiÉÆÃUÀPÉÌ PÁ¥Á°PÀ ªÀÄvÀzÀ ªÁåSÉå<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">49. vÀAvÀæ¨sÉÃzÀ ¨ËzÀÞªÀÄvÀzÀ vÀAvÀæ UÀæAxÀUÀ¼ÀÄ (CªÉÊ¢PÀ).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">50. UÀĺÀåPÀ vÀAvÀæ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">51. PÀ¯ÁªÁzÀ ¸Á»vÀå, ¸ÀAVÃvÀ EvÁå¢ PÀÄjvÀ<br /> 16 ZÀAzÀæPÀ¯ÉUÀ¼ÀÄ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">52. PÀ¯Á¸ÁgÀ ªÉÄð£À vÀAvÀæzÀ ¸ÁgÀ gÀÆ¥À.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">53. PÀÄ©Ó PÁªÀÄvÀA ¸ÀÆPÀëöä zÉúÀ ¸ÀAZÁgÀ EvÁå¢.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">54. gÀ¸ÀªÁzÀ ¥ÁzÀgÀ¸ÀªÀ£ÀÄß a£ÀߪÁV¸ÀĪÀÅzÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">55. «ÃuÁvÀAvÀæ/¸ÀAAiÉÆÃUÀ/AiÀÄQët ªÀ²ÃPÀgÀt<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">56. vÉÆæÃvÀ® CAd£À ºÁPÀĪÀÅzÀÄ, CAvÀjPÀë ¸ÀAZÁgÀ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">57. vÉÆæÃvÀ¯ÉÆÃvÀÛgÀ AiÀÄQët ¸ÁzsÀ£É<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">58. ¥ÀAZÁªÀÄÈvÀ ¥ÀAZÀ¨sÀÆvÀUÀ¼À ±ÀÄ¢ÞÃPÀgÀt<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">59. ªÁtÂdå<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">60. GzÀåªÀÄ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">61. ¥ÀæªÁ¸À EzÀPÉÌ ¸ÀªÀðeÁÕ£ÀªÁ¢ vÀAvÀæ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">62. ªÀÈwÛ ¥ÀAZÀPÀ JAzÀÄ ºÉ¸ÀgÀÄ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">63. zsÀ£À<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; tab-stops: 63.8pt 212.65pt; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">64. «¤AiÀĪÀÄ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÉÄð£À 64 vÀAvÀæUÀ¼À ¥ÀnÖAiÀÄÄ ¨sÁgÀvÀzÀ EwºÁ¸ÀzÀ ¨sËwPÀ ¸ÀégÀÆ¥ÀªÀ£ÀÄß DzsÁåwäPÀ gÀÆ¥ÀzÉÆA¢UÉ MnÖUÉ w½¸ÀÄvÀÛzÉ. ¨sÁgÀvÀ JAzÀgÉ PÉêÀ® CzsÁåvÀä, AiÉÆÃUÀ, zsÁå£À JA§ d£À¦æAiÀÄ ¥ÀjPÀ®à£É ªÀÄÆrzÀÄÝ ©ænµï ªÀ¸ÁºÀvÀıÁ» PÁ®zÀ°è. ºÀ®ªÀÅ ¸ÀÛgÀ, ºÀ®ªÀÅ ¥ÀAxÀ, C£ÉÃPÀ eÁw, G¥ÀeÁw, ªÀtðªÀåªÀ¸ÉÜ CzÀgÀ UÀ¨sÀðªÀ£ÀÄß ¹Ã¼À®Ä ºÉÆgÀl £ÁxÀ, ¹zÀÞ EvÁå¢ ¥ÀAxÀUÀ¼À ¸ÀAQÃtð ¥Àæ¥ÀAZÀ ¨sÁgÀvÀ. 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CªÀgÀ ²µÀå UÉÆëAzÀ ¨sÀUÀªÀvÁàzÀgÀÄ gÀ¸ÉñÀégÀ JA§ ¥ÁæaãÀ ªÀÄvÀPÉÌ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">gÀ¸ÀºÀÈzÀAiÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> JA§ gÀa¹zÁÝgÉ. UÉÆëAzÀgÀ ²µÀå ±ÀAPÀgÁZÁgÀågÀ ºÉ¸Àj£À eÉÆvÉ vÁ¬ÄvÀvÀé ªÉÆzÀ°¤AzÀ®Æ ¸ÉÃjPÉÆArzÉ. EwºÁ¸ÀPÁgÀ J¸ï. ²æÃPÀAoÀ±Á¹Ûç C©ü¥ÁæAiÀÄ ¥ÀqÀĪÀAvÉ ±ÀAPÀgÁZÁgÀågÀÄ- </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">²æà «zÁå G¥Á¸ÀPÀgÁVzÀÄÝ ¥Àæ¥ÀAZÀ¸ÁgÀ, D£ÀAzÀ®ºÀjÃ, ¸ËAzÀAiÀÄð®ºÀjÃ, ®°vÁwæñÀwà ¨sÁµÀå ªÀÄÄAvÁzÀ UÀæAxÀUÀ¼À£ÀÄß gÀa¹gÀĪÀgÀÄ. ªÀÄÄRå ¦ÃoÀUÀ¼À°è ²æÃZÀPÀæAiÀÄAvÀæ ¸ÁÜ¥À£É ªÀiÁrgÀĪÀgÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (1975, ¥ÀÄl 173).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">«±ÉõÀªÁV ªÉÊ¢PÀ ZËPÀnÖ£ÉƼÀUÉ ²æëzÉå (²æÃZÀPÀæ) AiÀÄ ¥Àæ¸ÁgÀ, ¥Àæ¨sÁªÀzÀ°è zÀQët ¨sÁgÀvÀzÀ ªÀÄnÖUÀAvÀÆ ±ÀAPÀgÁZÁgÀågÀ ¥ÁvÀæ zÉÆqÀØzÀÄ JA§ÄzÀgÀ°è ¸ÀAzÉúÀ«®è. vÀAvÀæ±Á¸ÀÛçzÀ ¸ÀA¸ÀÌøvÀ ¥ÀgÀA¥ÀgÉAiÀÄ£ÀÄß ±ÀAPÀgÁZÁgÀågÀ ²µÀå ®PÀëöätzÉòPÀgÀÄ ªÀÄÄAzÀĪÀgɹ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">±ÁgÀzÁ w®PÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> gÀa¹zÀgÀÄ, EzÀPÉÌ gÁWÀªÀ¨sÀlÖ£À (Qæ.±À. 1493) ªÁåSÁå£À«zÉ. EzÉà PÁ®zÀ°è vÀAvÀæ¸ÁgÀ, UÀæAxÀzÀ (PÀÈvÀð: PÀȵÁÚ£ÀAzÀ DUÀªÀĪÁVñÀ) ¥Àæ¨sÁªÀ¢AzÀ §AUÁ¼ÀzÀ°è ±ÁPÀÛzÀ ¥Àæ¨sÁªÀ ºÉaÑvÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀQët ¨sÁgÀvÀzÀ°è </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¸ËAzÀAiÀÄð®ºÀj</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">AiÀÄ ¥Àæ¨sÁªÀ zÉÆqÀØ¢zÀÄÝ EA¢UÀÆ £ÀUÀgÀ ¥ÀæzÉñÀUÀ¼À, ¸ÀA¸ÀÌøvÀ§®è ªÀÄzsÀåªÀĪÀUÀð, ªÉÄîéUÀðUÀ¼À°è CzÀgÀ ¥ÀoÀuÉ £ÀqÉAiÀÄÄvÀÛzÉ. ¯ÉÆ®è®QëöäÃzsÀgÀ, rArªÀÄgÀ ªÀÄvÀÄÛ ªÁåSÁå£ÀUÀ¼ÀAvÀÆ ¥Àæ¹zÀÞªÁVªÉ. dvÉUÉ 18£Éà ±ÀvÀªÀiÁ£ÀzÀ°è ¨sÁ¸ÀÌgÀgÁAiÀÄ£ÉA§ PÀ£ÀßrUÀ£ÀÄ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">®°vÁ ¸ÀºÀ¸Àæ£ÁªÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">PÉÌ ¨sÁµÀå (CAzÀgÉ «ªÀgÀuÉ) §gÉ¢zÁÝ£É, CzÀÄ EA¢UÀÆ d£À¦æAiÀĪÁVzÉ. EzÀgÉÆA¢UÉ GªÀiÁ£ÀAzÀ£ÁxÀ£ÀÄ gÀa¹gÀĪÀ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÀgÀ±ÀÄgÁªÀÄ PÀ®à¸ÀÆvÀæ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> G¯ÉèÃR¤ÃAiÀÄ. vÀAvÀæ UÀæAxÀUÀ¼ÀÄ 18-19£Éà ±ÀvÀªÀiÁ£ÀzÀ ªÀ¸ÁºÀvÀÄPÁ®zÀ ¥Á±ÁÑvÀå «zÀéwÛ£À PÁgÀt ¨É¼ÀPÀÄ PÀAqÀªÀÅ. EzÀgÀ°è ¸Àgï eÁ£ï ªÀÅqÉÆæÃ¥sÀ£À zÉÆqÀØ¢zÉ. §AUÁ¼ÀzÀ°è £ÁåAiÀiÁ¢üñÀ£ÁVzÀÝ FvÀ£ÀÄ ¸ÀA¸ÀÌøvÀzÀ°èzÀÝ C£ÉÃPÀ vÀAvÀæ UÀæAxÀUÀ¼À£ÀÄß EAVè¶UÉ C£ÀĪÁ¢¹, C£ÉÃPÀ ¨sÁgÀwÃAiÀÄgÀAvÉ ¥Á±ÁÑvÀågÀÆ vÀAvÀæªÉAzÀgÉ ©Ã¨sÀvÀì JAzÀÄ ºÉÆA¢zÀÝ ¨sÁªÀ£ÉAiÀÄ£ÀÄß ¸ÁPÀµÀÄÖ zÀÆgÀ ªÀiÁrzÁÝ£É. </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Introduction to Tantra Sastra</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (vÀAvÀæ±Á¸ÀÛçPÉÌ ¦ÃpPÉ), </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Principles of Tantra</span><span lang="EN-US" style="font-family: 'BRH JHK02';">s (vÀAvÀæUÀ¼ÀÄ ªÀÄvÀÄÛ vÀvÀéUÀ¼ÀÄ) </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Shakti and Sakta </span><span lang="EN-US" style="font-family: 'BRH JHK02';">(±ÀQÛ ªÀÄvÀÄÛ ±ÁPÀÛ),</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> The Serpent Power (</span><span lang="EN-US" style="font-family: 'BRH JHK02';">PÀÄAqÀ°¤ ±ÀQÛ)</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> The Tantra of Great Liberation (</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀĺÁ¤ªÁðt vÀAvÀæ)</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> Greathess of Shiva (</span><span lang="EN-US" style="font-family: 'BRH JHK02';">²ªÀ ªÀÄ»ªÉÄ)</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> Garland of Letters (</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÀvÀæªÀiÁ¯É)</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> Tantraraja Tantra (</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀægÁd vÀAvÀæ) EªÀÅ CªÀ£ÀÄ gÀa¹gÀĪÀ ªÁåSÁ夹gÀĪÀ ¥Àæ¹zÀÞ UÀæAxÀUÀ¼ÀÄ. DzsÀĤPÀ PÁ®zÀ°è vÀAvÀæ±Á¸ÀÛçzÀ ¦vÁªÀĺÀ J£ÀÄߪÀµÀÖgÀªÀÄnÖUÉ CªÀ£À ¸ÁzsÀ£É ªÀÄvÀÄÛ UÀæAxÀUÀ¼À C£ÀĪÁzÀ E¥ÀàvÀÛ£ÉAiÀÄ ±ÀvÀªÀiÁ£ÀzÀ vÀAvÀæUÀ¼À CzsÀåAiÀÄ£ÀªÀ£ÀÄß ¥Àæ¨sÁ«¹zÉ. EzÀ®èzÉ ¦.¹. ¨ÁUÀa (</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Evolution of Tantras- </span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæUÀ¼À «PÁ¸À), J£ï.J£ï. ¨sÀmÁÖZÁAiÀÄð </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">( History of the Tantric Religion -</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÁAwæPÀ ªÀÄvÀzÀ EwºÁ¸À), eÉÆåÃw¯Áð¯ï zÁ¸ï (PÀÄ©Ó PÁvÀAvÀæ, PÁªÀÄzÉãÀÄvÀAvÀæ, PÁªÀiÁRå vÀAvÀæ, PÀĪÀiÁjà vÀAvÀæ, ªÀiÁAiÀiÁvÀAvÀæ, ¤Ã®vÀAvÀæ, AiÉÆävÀAvÀæ- EªÀÅUÀ¼À ¸ÀA¥ÁzÀ£É ªÀÄvÀÄÛ C£ÀĪÁzÀ), ªÀædªÀ®è¨sÀ ¢éªÉâ (</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¸ÀéZÀÒAzÀ vÀAvÀæ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ ¸ÀA¥ÁzÀ£É), UÉÆæ£ÁxÀ PÀ«gÁd (vÀAvÀæeÁgï DUÀªÀıÁ¸ÉÛÃgÀ ¢UÀݱÀð£À, ªÁªÀÄPÉñÀégÀ vÀAvÀæ) JA.¦. ¥ÀArvï </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">(Gems from the Tantras </span><span lang="EN-US" style="font-family: 'BRH JHK02';">(vÀAvÀæzÀ ªÀÄt ªÀiËQÛPÀUÀ¼ÀÄ, PÀįÁtðªÀ vÀAvÀæ, PÀÄAqÀ°¤Ã AiÉÆÃUÀ), J¸ï.PÉ. gÁªÀÄZÀAzÀægÁªï</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> (Tantra Mantra Yantra </span><span lang="EN-US" style="font-family: 'BRH JHK02';">-vÀAvÀæ ªÀÄAvÀæ ªÀÄAvÀæ), ®®£ï ¥Àæ¸Ázï ¹AUï</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> (Tantra: It</span><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">’</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">s mystic & Scientric Basis) </span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæzÀ C£ÀĨsÁ«PÀ ªÀÄvÀÄÛ ªÉʨsÁ«PÀ ªÀ</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ÄvÀÄÛ ªÉÊeÁÕ¤PÀ §Ä£Á¢)- E£ÀÆß ªÉÆzÀ¯ÁzÀ «zÁéA¸ÀgÀ ¥Àj±ÀæªÀÄ¢AzÀ vÀAvÀæ±Á¸ÀÛçzÀ CzsÀåAiÀÄ£À £Á£ÀÄ ªÀÄÄRUÀ¼À°è ¸ÁVzÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæUÀ¼À ¸ÀASÉå JµÀÄÖ JA§ «µÀAiÀÄzÀ°è KPÁ©ü¥ÁæAiÀÄ«®è. </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀĺÁ¹zÀÞ¸ÁgÀ vÀAvÀæ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ°è MAzÀÄ ¸ÁégÀ¸ÀåPÀgÀªÁzÀ «ªÀgÀuɬÄzÉ. CzÀgÀ ¥ÀæPÁgÀ ¨sÁgÀvÀªÀ£ÀÄß «µÀÄÚPÁæAvÀ, gÀxÀPÁæAvÀ ªÀÄvÀÄÛ C±ÀéPÁæAvÀ JAzÀÄ «¨sÀf¹zÀgÉ MAzÉÆAzÀÄ PÁæAvÀPÀÆÌ 64 vÀAvÀæUÀ½ªÉ. F ¥ÀæPÁgÀ MlÄÖ ¨sÁgÀvÀzÀ°è ¸ÀȶÖAiÀiÁzÀ vÀAvÀæUÀ¼ÀÄ (F UÀæAxÀzÀ ¥ÀæPÁgÀ) 192. F ªÀÄÆgÀÄ ¨sËUÉÆýPÀ UÀrUÀ¼À «ªÀgÀuÉ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">±ÀQÛ ªÀÄAUÀ¼À vÀAvÀæ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ°èzÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">* «AzsÀå ¥ÀªÀðvÀ¢AzÀ eÁªÁzÀªÀgÉUÀÆ «µÀÄÚPÁæAvÀ vÀAvÀæUÀ¼ÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">* ªÀĺÁaãÁªÀÇ ¸ÉÃjzÀAvÉ «AzsÀåzÀ GvÀÛgÀzÀ ¨sÁUÀUÀ¼ÀÄ-gÀxÀPÁæAvÀ vÀAvÀæUÀ¼ÀÄ<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">* ¥À²ÑªÀÄQÌgÀĪÀ G½zÀ ¨sÁUÀUÀ¼É¯Áè C±ÀéPÁæAvÀ vÀAvÀæUÀ¼ÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæzÀ°è ªÉʵÀÚªÀ, ±ÁPÀÛ, ¨ËzÀÞ, ±ÉʪÀ EvÁå¢ ¨sÉÃzÀUÀ½gÀĪÀAvÉ UËqÀ (¥ÀƪÀðPÉÌ), PÉÃgÀ¼À (ªÀÄzsÀå¨sÁUÀ), PÁ²äÃgÀ (¥À²äªÀÄPÉÌ), ªÀÄvÀÄÛ «¯Á¸À JA§ £Á®ÄÌ ¸ÀA¥ÀæzÀAiÀÄUÀ½gÀĪÀÅzÀ£ÀÄß </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">µÀmï ¸ÀA¨sÀªÀ gÀºÀ¸Àå</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> w½¸ÀÄvÀÛzÉ. EzÀgÀ°è «¯Á¸À ¸ÀA¥ÀæzÁAiÀĪÀÅ zÉñÀzÀ AiÀiÁªÀÅzÉà MAzÀÄ ¥ÀæzÉñÀPÉÌ ¹Ã«ÄvÀªÁUÀzÉ J¯ÉèqÉUÀÆ ºÀ©âzÉ JAzÀÄ Cl¯ï ©ºÁj WÉÆÃµï «ªÀj¹zÁÝgÉ (</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Studies on the Tantras: The Ramakrishan Mission, Kolkotta, 2002, pp. 58.)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀĺÁAiÀiÁ£À ¨ËzÀÞ zsÀªÀÄðzÀ MAzÀÄ CªÀ¸ÉÜ vÁAwæPÀ ªÀÄÄRzÀÄÝ, EzÀPÉÌ ªÀdæAiÀiÁ£À JAzÀÄ ºÉ¸ÀgÀÄ. EzÀgÀ°è ªÀÄÄRå PÀ®à£É zsÁå¤ §ÄzÀÞgÀzÀÄ. F §ÄzÀÞgÀÄ LwºÁ¹PÀ §ÄzÀÞjVAvÀ ©ü£Àß. </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">F §ÄzÀÞgÀ°è ¥ÀæwAiÉƧâ£ÀÄ vÀ£Àß ±ÀQÛ ªÀÄvÀÄÛ ««zsÀ AiÉÆÃUÀzÀ gÀÆrüUÀ½AzÀ ªÀÄvÀÄÛ ¸ÁzsÀ£À¢AzÀ ¨ËzÀÞvÀéªÀ£ÀÄß ºÉÆAzÀ§®è</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (1978, ¥ÀÄl 792, Crn¥ÀàtÂ-1)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">£Á®AzÁ «±Àé«zÁå®AiÀÄzÀ°è gÀvÀ߸ÁUÀgÀ, gÀvÉÆßÃzsÀ¢ü ªÀÄvÀÄÛ gÀvÀßgÀAdPÀ JA§ ªÀÄÆgÀÄ ¨sÀªÀ£ÀUÀ¼À°è UÀæAxÁ®AiÀÄ«vÀÄÛ. gÀvÀ߸ÁUÀgÀzÀ°è ¨ËzÀÞUÀæAxÀ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÀæeÁÕ¥ÁgÀ«ÄvÀ ¸ÀÆvÀæ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> zÉÆqÀ£É </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¸ÀªÀiÁd UÀĺÀå</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀAxÀ vÁAwæPÀ eÁÕ£ÀzÀ ¥ÀĸÀÛPÀUÀ¼ÀÄ ¸ÀAUÀ滸À®ànÖzÀݪÀÅ JAzÀÄ SÁåw EwºÁ¸ÀPÁgÀ gÁzsÁPÀĪÀÄÄzï ªÀÄÄRfð §gÉAiÀÄÄvÁÛgÉ (¥ÁæaãÀ ¨sÁgÀvÀzÀ°è ²PÀët, 1978, ¥ÀÄl 780)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀÄAd²æÃPÀ®à</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ £ÀAvÀgÀ §gÉzÀ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">UÀĺÀå ¸ÀªÀiÁd vÀAvÀæ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ°è (Qæ.±À. 3£Éà ±ÀvÀªÀiÁ£À) vÀAvÀæzÀ vÁwéPÀvÉ ªÀÄvÀÄÛ DZÀgÀuÉUÀ¼ÀÄ zÁR¯ÁVªÉ. EzÀ£ÀÄß ¨sÀmÁÖZÁgÀågÀÄ, </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">UÀĺÀå ¸ÀªÀiÁd</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> vÀAvÀæzÀ ¦ÃpPÉAiÀÄ°è «ªÀj¹zÁÝgÉ. §ÄzÀÞgÀ PÀ®à£É PÀÄjvÀ «±ÉõÀ «ªÀgÀuÉ EzÀgÀ°èzÉ. D ¥ÀæPÁgÀ ¨ÉÆâüøÀvÀégÀ ¸À¨sÉ ªÀÄvÀÄÛ G½zÀªÀgÀÄ UÀĺÀå ¸ÀªÀiÁdzÀ gÀºÀ¸ÀåªÀ£ÀÄß ¥Àæ²ß¹zÀgÀÄ. DUÀ §ÄzÀÞ ¨ÉÃgÉ ¨ÉÃgÉ zsÁå£ÁªÀ¸ÉÜUÀ¼À°è PÀĽvÀ£ÀÄ, ©ü£Àß ©ü£Àß ªÀÄAvÀæUÀ¼À£ÀÄß ¥Àp¹zÀ£ÀÄ. F »£É߯ÉAiÀÄ°è §ÄzÀÞ£ÀÄ ¸ÀȶֹzÀ LzÀÄ ©ü£Àß jÃwAiÀÄ ±ÀQÛUÀ½gÀĪÀ eÁÕ¤ §ÄzÀÞgÉà CPÉëÆèsÀAiÀÄ, ªÉÊgÉÆÃZÀ£À, gÀvÀßPÉÃvÀÄ, C«ÄvÁ¨sÀ ªÀÄvÀÄÛ CªÉÆÃWÀ ªÀdæ. F LªÀgÀÄ §ÄzÀÞjUÉ/eÁÕ¤ §ÄzÀÞjUÉ PÀæªÀĪÁV LzÀÄ ±ÀQÛUÀ¼À£ÀÄß UÀĺÀå ¸ÀªÀiÁd vÀAvÀæ UÀÄgÀÄw¸ÀÄvÀÛzÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">«zÁéA¸ÀgÀ ¥ÀæPÁgÀ ºÀvÀÛ£ÉAiÀÄ ±ÀvÀªÀiÁ£ÀzÀ ªÉüÉUÉ ¨ËzÀÞzsÀªÀÄðzÀ°è vÀAvÀæAiÀiÁ£À/ªÀiÁUÀðzÀ ¥ÀæªÉñÀªÁ¬ÄvÀÄ (CzÉÃ, 1978, ¥ÀÄl 798).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">F ºÀAvÀzÀ°è ¨ËzÀÞ÷ÞªÀÄðzÀ ºÀ®ªÁgÀÄ ºÉƸÀ zÉêÀvÉUÀ¼ÀÄ PÁ®zÀ CUÀvÀåPÉÌ vÀPÀÌAvÉ ºÀÄnÖPÉÆAqÀgÀÄ. ªÉÆzÀ°zÀÝ §ÄzÀÞ£À eÉÆvÉ £ÀAvÀgÀ ªÉÄÊvÉæÃAiÀÄ, ªÀÄAdIJæÃ, CªÀ¯ÉÆÃQvÉñÀégÀ, EvÀgÀ ¨ÉÆâü¸ÀvÀégÀÄ ¸ÉÃjPÉÆAqÀgÀÄ. ªÀÄÄAzÉ ¹ÛçÃzÉêÀvÉUÀ¼ÁzÀ ºÁjÃw ªÀÄvÀÄÛ vÁgÁ, ¥ÀæeÁÕ¥ÁgÀ«ÄvÁ, ªÀ¸ÀÄzsÀgÁ JA§ÄªÀgÀÄ ¸ÉÃjzÀgÀÄ. EwºÁ¸À ZÀPÀæ GgÀĽzÀAvÉ ¨ËzÀÞzÀ zÉêÀvÉUÀ¼À ¥ÀjªÁgÀªÀÇ ºÉaÑvÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÁæAiÀÄB ¨ËzÀÞvÀAvÀæªÀÅ ±ÉʪÀ ªÀÄvÀÄÛ ±ÁPÀÛ ¥ÀAxÀUÀ¼À eÉÆvÉ ¸ÀàzsÉð ºÀÆqÀ¨ÉÃPÁ¬ÄvÀÄ. EzÀgÀ ¸ÀAPÉÃvÀªÁV ¨ËzÀÞzÉêÀvÉ vÉæöʯÉÆÃPÀå«dAiÀÄ£ÀÄ ªÀĺÉñÀðªÀgÀ (²ªÀ) ªÀÄvÀÄÛ UËj (¥ÁªÀðw) EªÀgÀ£ÀÄß vÀĽzÀÄ ¤AvÀ «UÀæºÀUÀ¼ÀÄ gÀZÀ£ÉAiÀiÁzÀªÀÅ. ¨ËzÀÞzsÀªÀÄð F ºÀAvÀzÀ°è C£ÉÃPÀ ªÉÊ¢PÀ/ªÉÊ¢PÀPÉÌ ¸À«ÄÃ¥ÀzÀ zÉêÀvÉUÀ¼À£ÀÄß fÃtÂð¹PÉƼÀî®Ä CxÀªÁ gÀÆ¥ÁAvÀj¸À®Ä £ÉÆÃrvÀÄ. GzÁ: ºÉgÀÄPÀ JA§ ¨ËzÀÞzÉêÀvÉ, gÀÄAqÀªÀiÁ¯É zsÀj¹zÁÝ£É ªÀÄvÀÄÛ DvÀ PÀªÀÄ®zÀ ªÉÄÃ¯É £Àwð¸ÀÄvÁÛ£É. EzÀÄ ²ªÀ£À£ÀÄß ºÉÆîĪÀ avÀæt. AiÀĪÀiÁAvÀgÀ JA§ ªÀÄvÉÆÛAzÀÄ ¨ËzÀÞzÉêÀvÉUÉ ºÉÆgÀ ZÁazÀ £Á°UɬÄzÉ, £Á¬ÄAiÀÄ ºÀ®ÄèUÀ¼ÀAxÀ ºÀ®ÄèUÀ½ªÉ. zÉÆqÀØ ºÉÆmÉÖ, dvÉUÉ gÀÄAqÀªÀiÁ¯É¬ÄzÉ. FvÀ¤UÉ PÉÆÃtªÉà ªÁºÀ£À. ªÉÊ¢PÀ ¥ÀÄgÁtUÀ¼À°è d£À¦æAiÀĪÁVgÀĪÀ AiÀĪÀÄzsÀªÀÄð£Éà ¥ÁæAiÀÄB AiÀĪÀiÁAvÀPÀ£ÁVzÁÝ£É. ºÉ¸ÀgÀ£ÀÄß UÀªÀĤ¹zÀgÉ ªÉÊ¢PÀgÀ AiÀĪÀĤUÉ ¨ËzÀÞgÀ F zÉêÀvÉ ªÀÄÈvÀÄå JA§ ¸ÀAPÉÃvÀ«zÉ. £ÁªÀÄ¥ÀzÀ, «UÀæºÀ gÀÆ¥ÁAvÀgÀ ªÀÄvÀÄÛ ¸ÀAPÉÃvÀUÀ¼À «Ä±Àæt C£ÀéªÀÄ¢AzÀ ªÀÄzsÀåPÁ®zÀ°è zsÁ«Äð-¸ÁA¸ÀÌøwPÀ ¸ÀAWÀµÀðzÀ CxÀªÁ ¨sÁµÉ gÀÆ¥ÀUÉÆArvÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">±ÁPÀÛ vÀAvÀæUÀ¼ÀÄ<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">¨sÁgÀwÃAiÀÄ ¸ÀA¸ÀÌøwUÉ vÀAvÀæªÀÅ PÉÆqÀÄUÉ ¤ÃrgÀĪÀÅzÀÄ C£ÉÃPÀ ªÀÄÄRUÀ¼À°è. DzÀgÉ «±ÉõÀªÁV ±ÁPÀÛªÀÄvÀPÀÆÌ vÀAvÀæPÀÆÌ EgÀĪÀ ¸ÀA§AzsÀ wêÀæ ¸ÀégÀÆ¥ÀzÀÄÝ. ¨sÁvÀzÀ°è ±ÀQÛ¥ÀÆeÉ ªÉÊ¢PÀ (ªÉÃzÀ ªÀÄÆ®)ªÉÇà C®èªÉÇà JA§ÄzÀgÀ §UÉÎ «zÁéA¸ÀgÀ°è ©ü£Àß ªÀÄvÀUÀ½ªÉ. </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¨sÁgÀwÃAiÀÄ vÁAwæPÀ UÀæAxÀUÀ¼É®èªÀÇ ªÉÃzÀ ¥ÁæªÀiÁtåªÀ£ÀÄß CAVÃPÀj¹ªÉ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> JA§ ²æÃPÀAoÀ±Á¹ÛçÃAiÀĪÀgÀ ªÀiÁvÀÄ ZÀZÁð¸ÀàzÀ (1975, ¥ÀÄl 170).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">¨sÁgÀvÀzÀAvÉ «zÉñÀzÀ ¸ÀA¸ÀÌøwUÀ¼À®Æè ±ÀQÛAiÀÄ£ÀÄß vÁ¬Ä JAzÀÄ ¹éÃPÀj¹ ¥ÀÆf¸ÀĪÀ ¥ÀzÀÞw¬ÄzÉ. ¸ÀĪÉÄÃjAiÀÄ, C¹ìÃjAiÀÄ, ¦üæfAiÀÄ, Ff¥ïÖ, ¹jAiÀiÁ zÉñÀzÀ°è£À ±ÀQÛ¥ÀÆeÉAiÀÄ°è zÉéÃvÀ¨sÁªÀ ªÀÄvÀÄÛ zÀKºÀzÀ ¥ÀÄ£ÀgÀÄvÁÜ£À vÀvÀéUÀ½UÉ ¸ÁÜ£À«zÉ. ¨sÁgÀvÀzÀ ±ÁPÀÛªÀÄvÀzÀ°è ªÀÄÄRåªÁV PÀªÀÄð, ¥ÀÄ£Àdð£ÀäUÀ½UÉ ºÉaÑ£À ¸ÁÜ£À«zÉ (CzÉÃ, 1975, ¥ÀÄl 170-71).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÉÊ¢PÀ ªÀÄvÀzÀ°è ±ÀQÛ¥ÀÆeÉ ªÀÄvÀÄÛ vÀAvÀæ ¸Á»vÀå ªÀÄÄRåªÁV ¨É¼É¢gÀĪÀÅzÀÄ ²æà ZÀPÀæ ¥ÀÆeÉ ªÀÄvÀÄÛ zÉêÁ®AiÀÄ ¤ªÀiÁðt, ²®à±Á¸ÀÛçzÀ ¸ÀAzÀ¨sÀðzÀ°è. ªÉÊ¢PÀ ªÁYäAiÀÄzÀ°è ªÀÄAvÀæ, AiÀÄAvÀæ, £Áå¸À, ¢ÃPÉë, ²æà ZÀPÀæ ªÉÆzÀ¯ÁzÀ CA±ÀUÀ½UÉ ªÀĺÀvÀézÀ ºÉZÀÄÑ. ¨ËzÀÞ ªÀÄvÀÄÛ ªÉÊ¢PÀgÀ°è ªÀÄAqÀ®UÀ½UÉ ¸ÁzsÀ£ÉAiÀÄ°è ªÀÄvÀÄÛ avÀæPÀ¯ÉAiÀÄ°è «±ÉõÀ ¸ÁÜ£À«zÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">²æà ZÀPÀæ MAzÀÄ AiÀÄAvÀæªÁVzÀÄÝ CzÀgÀ ªÀÄzsÀåzÀ°ègÀĪÀ ©AzÀÄ«£À ªÀÄAqÀ®/ ªÀÈvÀÛPÉÌ NqÁåt ¦ÃoÀ JAzÀÄ ºÉ¸ÀgÀÄ wæPÉÆÃmÁUÀ¼À vÀÄ¢AiÀÄ°ègÀĪÀ eÁUÀUÀ½UÉ ¥ÀÆtðVj, eÁ®AzsÀgÀ ªÀÄvÀÄÛ PÁªÉÄñÀéj ¦ÃoÀUÀ¼ÉAzÀÄ ºÉ¸ÀjzÉ. ¨sÁgÀvÀzÀ GzÀÝUÀ®PÀÆÌ vÀAvÀæ DZÀgÀuÉAiÀÄ°èzÀÝ PÁgÀt¢AzÀ¯ÉÆà K£ÉÆà F ªÀÄÆgÀÄ eÁUÀUÀ¼À£ÀÄß ¨sËUÉÆýPÀ PÉëÃvÀæUÀ¼À°è UÀÄgÀÄw¸ÀĪÀ ¥ÀæAiÀÄvÀß £ÀqÉ¢zÉ. ªÁAiÀÄĪÀå ¥ÁæAvÀåzÀ GzÁå£À JA§ ¸ÀܼÀªÉà NqÁåt, GvÀÛgÀ §zÀjAiÉÄà ¥ÀÆtðVj ªÀÄvÀÄÛ d®AzsÀgÀ f¯ÉèAiÉÄà (¥ÀAeÁ¨ï gÁdå) eÁ®AzsÀgÀ (1975, ¥ÀÄl 75). ¨sÁgÀvÀzÀ ¥À²ÑªÀÄzÀ ªÀÄvÀÄÛ ªÁAiÀÄĪÀå ¨sÁUÀUÀ¼À°è ¨ÉÃgÉ ¨ÉÃgÉ LwºÁ¹PÀ PÁ®UÀ¼À°èC£ÉÃPÀ vÁAwæPÀ±ÁPÀÛgÀÄ EzÀÝgÉA§ÄzÀPÉÌ ²æà ZÀPÀæzÀ F ¨sÁUÀUÀ¼ÀÄ ¸ÀAPÉÃvÀ«gÀ§ºÀÄzÀÄ. EA¢UÀÆ C¸ÁìA gÁdåzÀ PÁªÀiÁRåªÀ£ÀÄß ¸ÀwAiÀÄ zÉúÀªÀ£ÀÄß ²ªÀ£ÀÄ ºÉÆvÀÄÛ wgÀÄUÀÄwÛzÁÝUÀ D zÉúÀªÀ£ÀÄß «µÀÄÚ PÀvÀÛj¹zÀ LwºÀåzÉÆqÀ£É «±ÉõÀªÁV ¸À«ÄÃPÀj¸À¯ÁUÀÄvÀÛzÉ. ¸ÀwAiÀÄ zÉúÀzÀ ««zsÀ ¨sÁUÀUÀ¼ÀÄ ¨sÁgÀvÀzÀ ««zsÀ ¨sÁUÀUÀ¼À°è ©zÀÄÝ ±ÀQÛ ¦ÃoÀUÀ¼ÀÄ ºÀÄnÖPÉÆAqÀªÀÅ. ¸ÀwAiÀÄ AiÉÆä ©zÀÝ ¸ÀܼÀªÉà PÁªÀiÁRå JA§ £ÀA©PɬÄzÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">AiÉÆÃUÀ±Á¸ÀÛçzÀ°è E¼Á, ¦AUÀ¼Á, ¸ÀĵÀĪÀiÁß JA§ £ÁrUÀ½UÉ ¸ÀAPÉÃvÀªÁV UÀAUÁ, AiÀĪÀÄÄ£Á, ¸ÀgÀ¸Àéw £À¢UÀ¼À£ÀÄß ElÄÖPÉÆAqÀgÉ ¥ÁæaãÀ DAiÀiÁðªÀvÀðªÉà vÀAvÀæUÀ¼À ªÀÄÄRå ¨sÀÆ«Ä J¤¸ÀÄvÀÛzÉ. F ¨sÀÆ¥ÀæzÉñÀzÀ MAzÀÄ ªÀÄƯÉUÉ EA¢£À C¥ÀWÁ¤¸ÁÛ£À, ªÀÄvÉÆÛAzÀÄ vÀÄ¢UÉ §zÀjAiÀiÁzÀgÉ, ªÀÄUÀzÉÆAzÀÄ CAZÉà PÁªÀiÁRå. »ÃUÉ F ¨sÀÆ ¨sÁUÀªÀÅ JµÉÆÖà ¥ÀÄgÁtzÉêÀvÉUÀ¼À GUÀªÀÄ ¨sÀÆ«ÄAiÀiÁzÀAvÉ, vÁAwæPÀ DZÀgÀuÉAiÀÄ ¦ÃoÀªÀÇ DVzÉ. 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GzÁºÀgÀuÉUÉ F PÀÄjvÀAvÉ ¸ÁévÀAvÀæöå¥ÀƪÀð ¨sÁgÀvÀzÀ ªÀĺÀvÀézÀ aAvÀPÀgÀ¯ÉÆè§âgÁzÀ CgÀ«AzÀ ªÁåSÉåAiÀÄ£ÀÄß £ÉÆÃqÀ§ºÀÄzÀÄ:<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">1. vÀAvÀæ-¥ÀÄgÁtAiÀÄÄUÀzÀ°è wæªÀÄÆwðUÀ½VAvÀ ©ü£ÀßgÁzÀ ºÉƸÀ zÉêÀvÉUÀ¼ÀÄ ºÀÄnÖPÉÆAqÀgÀÄ, ºÉƸÀ PÀ®à£É aUÀÄjvÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">2. ªÉÊ¢PÀ AiÀÄdÕ ªÀåªÀ¸ÉÜ ºÀzÀ vÀ¦àvÀÄ. DUÀ AiÀÄdÕ ±Á¯ÉUÀ¼À §zÀ¯ÁV zÉêÀ®AiÀÄUÀ¼ÀÄ vÀ¯ÉAiÉÄwÛzÀݪÀÅ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. ¥ÀƪÀð«ÄêÀiÁA¸ÉAiÀÄ »rvÀzÀ°èzÀÝ AiÀÄdÕzÀ ªÀåªÀ¸ÉÜAiÀÄ PÀªÀÄðPÁAqÀzÀ ¸ÁÜ£ÀªÀ£ÀÄß ¨sÀQÛ ¥ÀæzsÁ£ÀªÁzÀ ¨sÀQÛPÁAqÀ DªÀj¹vÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">4. ªÀÄÄRåªÁV wæªÀÄÆwðUÀ¼À ¸ÀégÀÆ¥ÀUÀ¼ÀÄ ¥ÀjªÀwðvÀªÁV, eÉÆvÉUÉ ºÀ®ªÀÅ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">fÃtð</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">UÉÆAqÀ zÉêÀvÉUÀ¼À ±ÀQÛUÀ¼ÀÄ ¸ÉÃj ºÉƸÀzÁzÀ ±ÀQÛzÉêÀvÉAiÀÄÄ ºÀÄlÄÖ ¥ÀqɬÄvÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">5. ºÉƸÀzÁV ºÀÄnÖzÀ F ±ÁPÀÛ vÀAvÀæªÀÅ JgÀqÀÄ jÃwAiÀÄ DgÁzsÀ£ÉAiÀÄ£ÀÄß gÀƦ¹vÀÄ: 1. CAvÀgÀAUÀzÀ DgÁzsÀ£É ªÀÄvÀÄÛ 2. §»gÀAUÀzÀ CZÀð£É, (EzÀjAzÁV KPÀPÁ®zÀ°è zsÁå£À, AiÉÆÃUÀzÀAxÀ DgÁzsÀ£ÉUÀ¼ÀÆ ¥ÀÆeÉ, ºÁqÀÄ, £ÀÈvÀå, zÉêÁ®AiÀÄ ¤ªÀiÁðtzÀAxÀ CZÀð£ÉUÀ¼ÀÆ vÀ¯ÉAiÉÄwÛzÀݪÀÅ)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">6. MnÖ£À°è ªÉÃzÀ, G¥À¤µÀvÀÄÛ, eÉÊ£À-¨ËzÀÞUÀ¼À £ÀAvÀgÀzÀ PÁ®zÀ°è ¥ÀÄgÁt, vÀAvÀæ ªÀÄvÀÄÛ AiÉÆÃUÀUÀ¼ÀÄ «Ä±ÀæUÉÆAqÀªÀÅ, ¥ÀgÀ¸ÀàgÀ PÉƼÀÄPÉÆqÉ £ÀqɹzÀªÀÅ. JµÀÖ£ÉÆßà PÀ¼ÀPÉÆAqÀªÉÇÃ, JµÉÆÖà ºÉƸÀvÀ£ÀÄß ¥ÀqÉzÀÄPÉÆAqÀªÀÅ. (¥ÀÄ£ÀgÀÄfÓêÀ£ÀzÀvÀÛ »AzÀÆ zsÀªÀÄð-CgÀ«AzÀgÀÄ C£ÀÄ: qÁ.f.©. ºÀjñÀ, 2002, ¥ÀÄl 55-56).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÉÊ¢PÀ ªÀÄvÀPÀÆÌ vÁAwæPÀ ªÀÄvÀPÀÆÌ G¥Á¸À£ÁPÀæªÀÄzÀ°è ªÀåvÁå¸ÀªÉà «£Á ªÀÄÆ®vÀvÀéªÀÅ MAzÉÃ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (²æÃPÀAoÀ±Á¹Ûç, 1975, ¥ÀÄl 173) JA§ C©ü¥ÁæAiÀÄzÀAvÉAiÉÄà </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">±ÀÆzÀæ ªÀÄvÀÄÛ ¹ÛçÃAiÀÄgÀ£ÀÄß zsÁ«ÄðPÀ ¸ÁÜ£ÀªÀiÁ£À¢AzÀ §»µÀÌj¹zÀÝ D¹ÛPÀ ªÀÄvÀÄÛ £Á¹ÛPÀ UÀÄ¥ÀÛ ¸ÀªÀiÁdUÀ¼ÀÄ vÀªÀÄä ºÉÆgÀ DPÀÈwAiÀÄ£ÀÄß §zÀ°¹PÉÆAqÀªÀÅ JA§ M¼À£ÉÆÃlªÀÇ ®¨sÀå«zÉ (£ÁUÀgÁd¥Àà PÉ.f. 1998). GzÁºÀgÀuÉUÉ «Äy¯Á ¥ÀæzÉñÀzÀ°è (EA¢£À ©ºÁgï) </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">CAvÀB ±ÁPÁÛ §»B ±ÉʪÁ| ¸À¨sÁ ªÀÄzsÉìÃvÀÄ ªÉʵÀÚªÁ:</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> JA§ ªÀiÁvÀÄ ¥ÀæZÀ°vÀ«zÉ. CAzÀgÉ M¼ÀUÉ ±ÁPÀÛ, ºÉÆgÀUÉ ±ÉʪÀ ¸À¨sÉAiÀÄ°èzÁÝUÀ ªÉʵÀÚªÀ. MAzÀÄ PÉÃAzÀæ¢AzÀ ºÉÆgÀl ªÀÄÆgÀÄ ªÀÈvÀÛUÀ¼À£ÀÄß PÀ°à¹PÉÆAqÀgÉ PÉÃAzÀæªÉà vÀAvÀæ ¥ÀzÀÞw, CzÀPÉÌ CAnPÉÆArgÀĪÀ wÃgÁ M¼ÀV£À ªÀÈvÀÛ ±ÁPÀÛ, ªÀÄzsÀåzÀÄÝ ±ÉʪÀ, wÃgÁ ºÉÆgÀ ªÀÈvÀÛ ªÉʵÀÚªÀ. EzÉà PÉÃAzÀæ wæªÀÈvÀÛ ¥ÀjPÀ®à£ÉAiÀÄ£ÀÄß ªÉʵÀÚªÀ ¥ÀxÀPÀÆÌ C£Àé¬Ä¸À§ºÀÄzÀÄ. ®QëöäAiÀÄÄ ¥ÀÄgÁtUÀ¼À°è «µÀÄÚ ¥ÀwßAiÀiÁV zÉÆqÀØ ¸ÁÜ£À ºÉÆA¢gÀĪÀ ªÉʵÀÚªÀ zÉêÀvÉAiÀiÁzÀgÀÆ PÉÆ®Æèj£À ªÀĺÁ®Qëöä ªÀÄvÀÄÛ ºÁ¸À£À f¯ÉèAiÀÄ zÉÆqÀØUÀzÀݪÀ½îAiÀÄ ªÀĺÁ®QëöägÀ°è MAzÀÄ «±ÉõÀ«zÉ. F ®QëöäAiÀÄgÀ zÉêÁ®AiÀÄPÉÌ dAiÀÄ - «dAiÀÄgÁUÀ°, UÀgÀÄqÀ, ºÀ£ÀĪÀÄgÁUÀ° zÁégÀ¥Á®PÀgÁVgÀzÉ ¨sÉÊgÀªÀ zÁégÀ¥Á®PÀ£ÁVzÁÝ£É. ªÀÄÆ®vÀB ±ÁPÀÛ ¦ÃoÀUÀ¼ÁzÀ F PÉÃAzÀæUÀ¼ÀÄ CAvÀgÀAUÀzÀ°è ±ÁPÀÛ¦ÃoÀUÀ¼ÀÄ, §»gÀAUÀzÀ°è ªÉʵÀÚªÀ ¸ÁÜ£ÀUÀ¼ÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">±ÁPÀÛ ¸Á»vÀåUÀ¼À°è MAzÁzÀ ®°vÁ ¸ÀºÀ¸Àæ£ÁªÀÄzÀ°è ®QëöäAiÀÄ ¥Àæ¸ÁÛ«zÉ. ¨sÁgÀvÀzÀ JµÉÆÖà ¥ÀAxÀUÀ¼ÀÄ vÀAvÀæ¢AzÀ ¸ÀÆáwð ºÉÆA¢zÀgÀÆ CzÀgÀ §UÉÎ ¨sÀAiÀÄ «Ä²ævÀ UËgÀªÀ, zÀÆgÀ¢AzÀ¯Éà C£ÀÄPÀj¸À®Ä ºÉÆÃV wÃgÁ ºÀwÛgÀPÉÌ §AzÀÄ ©qÀĪÀ ¹ÜwAiÀÄ£ÀÄß ºÉÆA¢©lÖªÀÅ. vÀAvÀæzÀ DPÀµÀðuÉ-«PÀµÀðuÉAiÀÄ°è ªÉʵÀÚªÀ, eÉÊ£À, ±ÁPÀÛ, UÀt¥Àw, PÀĪÀiÁgÀ¸Áé«Ä, ¸ÀÆAiÀÄð DgÁzsÀ£ÉAiÀÄ ¥ÀAxÀUÀ½UÉ «±ÉõÀªÁzÀ gÀÆ¥À, ¸ÀAQÃtðvÉUÀ¼ÀÄ MzÀVªÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÉʵÀÚªÀ vÀAvÀæUÀ¼ÀÄ<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÉʵÀÚªÀ ¥ÀAxÀUÀ¼À ªÉÄÃ®Æ vÀAvÀæzÀ ¥Àæ¨sÁªÀ«zÉ. ªÉʵÀÚªÀ DZÁgÀågÀÄ vÁAwæPÀ DZÀgÀuÉAiÀÄ°è PÉ®ªÀÅ §zÀ¯ÁªÀuÉUÀ¼À£ÀÄß C¼ÀªÀr¹zÀgÀÄ. CzÀ£ÀÄß PɼÀPÀAqÀAvÉ ¸ÀAUÀ滸À§ºÀÄzÀÄ. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">1. vÀAvÀæUÀ¼À DAvÀjPÀ DZÀgÀuÉVAvÀ ¨ÁºÀå QæAiÉÄUÀ¼ÁzÀ ¨ÁºÀå ¥ÀÆeÉ/§»gÀAUÀ ¥ÀÆeÉ ªÀÄvÀÄÛ ªÀÄAvÀæzÀ vÀvÀéPÉÌ ªÀĺÀvÀé ¤ÃrzÀgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">2. d£À vÀªÀÄä EµÁÖxÀ𠤪ÉÃzÀ£ÉUÉ F ªÀiÁUÀ𠧼À¸À®Ä w½¹zÀgÀÄ. vÀAvÀæzÀ ¥ÀAZÀªÀÄPÁgÀUÀ¼À°è MAzÁzÀ ªÀiÁA¸ÁºÁgÀ ¸ÉêÀ£É E®èzÉAiÀÄÆ ¸ÁzsÀ£É ¸ÁzsÀå JA§ÄzÀ£ÀÄß ¸ÀÆa¹zÀ CªÀgÀÄ EµÀÖ zÉʪÀªÀÅ ¨sÀQÛ C¦ð¸ÀĪÀ DºÁgÀzÀ ¸ÁgÀªÀ£ÀÄß ªÀiÁvÀæ ¹éÃPÀj¸ÀÄvÁÛ£É/¼É ªÀÄvÀÄÛ ¨sÀQÛ GvÀÌlªÁVzÁÝUÀ £ÉÃgÀªÁV DºÁgÀzÀ ¨sÁUÀªÀ£ÀÄß ¹éÃPÀj¸À§ºÀÄzÀÄ JAzÀÄ £ÀÄrzÀÄ vÀAvÀæzÀ ªÀÄÆ®PÀ ¨sÀQÛ ¸ÁzsÀ£ÉAiÀÄ°è «±Áé¸À ºÉaѹzÀgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. ªÀÄAvÀæzÀ ªÀĺÀvÀé w½¹, £ÁªÀÄd¥À zÉʪÀ ¸ÁPÁëvÁÌgÀPÉÌ ºÁ¢, EzÀPÉÌ DºÁgÀ ªÀÄvÀÄÛ ªÀÄ£À¹ì£À ±ÀÄzÀÞvÉ ªÀÄÄRå JA§ÄzÀ£ÀÄß w½¹PÉÆlÖgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';"><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 10pt;">The Tantrika rites can be practiced in the purest form possible, without a touch of wine or sex-indulgence, and this amply proved in the lives of numerous saints of this school” (The Tantrika mode of worship-Swami Madhavananda; Studies on the Tantras, 2002, Pp. 5</span><span lang="EN-US" style="font-size: 10pt;">) </span></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">PÁªÀåPÀAoÀ ªÁ¹µÀ× UÀt¥Àw ªÀÄĤ gÀa¸ÀĪÀ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">GªÀiÁ¸ÀºÀ¸ÀæA</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">£À°è F ªÉʵÀÚªÀ ¨ÉÆÃzsÀ£ÉUÉ ¸À«ÄÃ¥ÀzÀ aAvÀ£É PÀAqÀÄ §gÀÄvÀÛzÉ. ªÉʵÀÚªÀ aAvÀ£ÉAiÀÄ°è vÀAvÀæPÀÆÌ «µÀÄÚ«£À £ÁªÀÄgÀÆ¥ÀUÀ½UÀÆ ¸ÀA§AzsÀ«zÀÝAvÉ, E°è ±ÀQÛUÀÆ CªÀ¼À ªÀÄUÀ ¸ÀÌAzsÀ¤UÀÆ EgÀĪÀ C£ÀĨsÁ«PÀ ¸ÀA§AzsÀzÀ ªÁåSÉå¬ÄzÉ. 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CzÀgÀ°ègÀĪÀ zÀQët ªÀiÁUÀð (§®UÉÊ) ªÀÄvÀÄÛ ªÁªÀÄ ªÀiÁUÀð (JqÀUÉÊ) JA§ JgÀqÀÄ «¨sÀd£ÉUÀ¼ÀÄ ¸ÀºÀ ¤¢ðµÀÖªÁzÀ MAzÀÄ UÀA©üÃgÀ zÀȶ֬ÄAzÀ¯Éà GAmÁzÀzÀÄÝ. ¥ÁæaãÀ PÁ®zÀ°è ¥ÀzÀUÀ½VzÀÝ ¸ÁAPÉÃwPÀ CxÀðzÀ ¥ÀæPÁgÀ zÀQët ªÀÄvÀÄÛ ªÁªÀÄ ªÀiÁUÀðUÀ¼À ¨sÉÃzÀªÉAzÀgÉ eÁÕ£ÀªÀiÁUÀð ªÀÄvÀÄÛ D£ÀAzÀ ªÀiÁUÀðUÀ¼À £ÀqÀÄ«£À ¨sÉÃzÀªÉà DVvÀÄÛ. «ªÉÃZÀ£Á ±ÀQÛ, ¸Àé¸ÁªÀÄxÀåðUÀ¼À£ÀÄß HfðvÀUÉƽ¹PÉƼÀÄîªÀ ¸ÁªÀÄxÀåðzÀAxÀ ¸Àé¨sÁUÀ¼ÀÄ zÀQët ªÀiÁUÀðªÉ¤¹zÀªÀÅ. ªÀÄ£ÀĵÀå£À ±ÀQÛAiÀÄ°ègÀĪÀ D£ÀAzÀªÀ£ÀÄß ¥ÀqÉAiÀÄĪÀ ¸Àé¸ÁªÀÄxÀåðªÀÅ ªÁªÀÄ ªÀiÁUÀðªÉ£¹vÀÄ. DzÀgÉ JgÀqÀÆ ªÀiÁUÀðUÀ¼À vÀvÀé UÉÆAzÀ®ªÀÄAiÀĪÁV, CzÀgÀ ¸ÀAPÉÃvÀUÀ¼ÀÄ «gÀÆ¥ÀUÉÆAqÀÄ CawªÀĪÁV JgÀqÀÆ ¥ÀvÀ£À ºÉÆA¢ªÀÅ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (Dgï. J¯ï. PÀ±Àå¥À, 2002, ¥ÀÄl 36).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">eÉÊ£ÀvÀAvÀæ<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">LwºÁ¹PÀªÁV §ÄzÀÞ£VAvÀ®Æ PÀ£µÀ× 300 ªÀµÀðUÀ¼ÀµÀÄÖ ºÀ¼ÉAiÀÄzÁzÀ eÉÊ£ÀªÀÄvÀzÀ°è vÀAvÀæªÀÅ DgÀA¨sÀzÀ ºÀAvÀzÀ°è ¥Àæ¨sÁ«¹gÀ°®è. ¥ÁæaãÀ eÉÊ£À UÀæAxÀUÀ¼À°è eÉÊ£ÀªÀÄĤUÀ¼ÀÄ zsÁå£ÀzÀ G¥À GvÀàwÛAiÀiÁV (</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">by-product) </span><span lang="EN-US" style="font-family: 'BRH JHK02';">C£ÉÃPÀ ¹¢ÞUÀ¼À£ÀÄß UÀ½¹zÀÝgÀ G¯ÉèÃRUÀ½ªÉ. GzÁºÀgÀuÉUÉ £É®PÉÌ PÁ®Ä vÁQ¸ÀzÉ DPÁ±ÀzÀ°è ¸ÀAPÀj¸ÀĪÀ ¹¢Ý. DzÀgÉ F ¹¢ÝUÀ¼ÀÄ DzsÁåwäPÀ ¸ÁzsÀ£ÉUÉ CqÀZÀuÉAiÉÄAzÀÄ CzÀgÀ §¼ÀPÉAiÀÄ£ÀÄß ªÀÄĤ-±ÁæªÀPÀ (UÀȺÀ¸ÀÜ)j§âjUÀÆ ¤µÉâü¸À¯Á¬ÄvÀÄ. DzÀgÉ ªÀÄÄAzÉ ªÀÄzsÀåPÁ®zÀ°è eÉÊ£ÀgÀÄ C£ÉÃPÀ AiÀÄAvÀæUÀ¼À£ÀÄß </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">(Mystical diagrams)</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> gÀa¹ CªÀÅUÀ½UÉ «zsÁ£À, DZÀgÀuÉUÀ¼À£ÀÄß gÀƦ¹zÀgÀÄ. AiÀÄAvÀæ ªÀÄvÀÄÛ DZÀgÀuÉUÀ¼À£ÀÄß ¨É¸ÉAiÀÄ®Ä ªÀÄAvÀæ ©Ãd CPÀëgÀUÀ¼ÀÄ §¼ÀPÉUÉ §AzÀªÀÅ. ¸ÁªÀiÁ£ÀåªÁV eÉÊ£ÀAiÀÄAvÀæUÀ¼À°è wÃxÀðAPÀgÀgÀ ºÉ¸ÀgÀÄ PÉvÀÛ®ànÖgÀÄvÀÛzÉ. eÉÆvÉAiÀÄ°è eÉÊ£À AiÀÄPÀë-AiÀÄQëAiÀÄjUÉ ¸ÀA§A¢ü¹zÀ ©ÃeÁPÀëgÀUÀ½gÀÄvÀÛªÉ. eÉÊ£À AiÀÄAvÁægÁzsÀ£ÉAiÀÄÄ ¸ÀªÀÄÄzÁAiÀÄzÀ »jAiÀÄgÉ£¹zÀ PÀëÄ®èPÀgÀÄ, ¨sÀmÁÖgÀPÀgÀÄ ªÀÄvÀÄÛ AiÀÄwUÀ¼À </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀiÁUÀð</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ±Àð£ÀzÀ°è £ÀqÉAiÀÄÄvÀÛzÉ. «zÁéA¸ÀgÁzÀ ¥ÀzÀä£Á¨sÀ eÉÊ£AiÀĪÀgÀ C©ü¥ÁæAiÀÄzÀAvÉ IĶªÀÄAqÀ®, PÀ®PÀÄAqÀzÀAqÀ, UÀAzsÀgÀªÀ®AiÀÄ ªÀÄvÀÄÛ ¹zÀÞ ZÀPÀæUÀ¼ÀÄ eÉÊ£ÀgÀ ªÀÄÄRå AiÀÄAvÀæUÀ¼ÀÄ (</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">The Jain path of purification, Motilal Banarasides, Delhi, 2001,Pp. 254 fn. 20). </span><span lang="EN-US" style="font-family: 'BRH JHK02';">eÉÊ£ÀAiÀÄAvÁægÁzsÀ£ÉAiÀÄ°è ±ÁæªÀPÀjVAvÀ ªÀÄĤ, DZÁgÀågÀ ¥ÁvÀæªÉà »jzÁVzÀÄÝ, ±ÁæªÀPÀgÀÄ ªÀÄAvÀæ ¥ÀoÀ£ÀPÉÌ AiÉÆÃUÀågÀÄ. EµÁÖzÀgÀÆ </span><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">“</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Lacking the basic ingredient of the tantric cult-fusion of the mundane and the super mundane-such practices seem to have had little effect upon the development of Jainism</span><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">”</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> </span><span lang="EN-US" style="font-family: 'BRH JHK02';">JA§ CªÀgÀ ªÀiÁvÀ£ÀÄß ªÀÄzsÀåPÁ®zÀ°è AiÀiÁ¥À¤ÃAiÀÄ ¥ÀAxÀzÀ GUÀªÀÄPÀÆÌ »A¢£À eÉÊ£ÀªÀÄvÀPÉÌ ZÉ£ÁßV C£Àé¬Ä¸À§ºÀÄzÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">eÉÊ£À ¸ÀAWÀzÀ°è ±ÉéÃvÁA§gÀ ªÀÄvÀÄÛ ¢UÀA§gÀ ¸ÀAWÀUÀ¼ÀAvÉAiÉÄà Cw ¥ÁæaãÀªÁzÀ ªÀÄvÉÆÛAzÀÄ M¼À¥ÀAxÀªÉà AiÀiÁ¥À¤ÃAiÀÄ ¸ÀAWÀ. EzÀPÉÌ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">UÉÆÃ¥Àå ¸ÀAWÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> JA§ ºÉ¸ÀjgÀĪÀÅzÀ£ÀÄß ¸Àé®à UÀªÀĤ¸À¨ÉÃPÁUÀÄvÀÛzÉ. ¢UÀA§gÀ, ±ÉéÃvÁA§gÀ JAzÀÄ eÉÊ£À ¸ÀAWÀªÀÅ MqÉzÀÄ E¨ÁãUÀªÁV J¥ÀàvÀÄÛ ªÀµÀðUÀ¼À £ÀAvÀgÀ ²æÃPÀ®±À£ÉA§ ±ÉéÃvÁA§gÀ ªÀÄĤ¬ÄAzÀ DgÀA¨sÀªÁzÀ (Qæ.±À. 148) AiÀiÁ¥À¤ÃAiÀÄ ¸ÀAWÀzÀ ªÀÄÆ®PÀ vÀAvÀæªÀÅ eÉÊ£ÀªÀÄvÀPÀÆÌ zsÁ½¬ÄnÖvÀÄ. ¨ÉvÀۯɬÄgÀÄwÛzÀÝ AiÀiÁ¥À¤ÃAiÀÄ ªÀÄĤUÀ¼ÀÄ £À«®ÄUÀjAiÀÄ ¦ZÀÒ ªÀiÁvÀæ ºÉÆA¢zÀÄÝ GtÚ®Ä ¥ÁvÉæAiÀÄ£ÀÆß ºÉÆA¢gÀ°®è. ¥ÁætÂ¥ÁvÉæAiÀÄ£ÀÄß §¼À¸ÀÄwÛzÀÝ EªÀgÀÄ £ÀUÀß ªÀÄÆwðUÀ¼À DgÁzsÀPÀgÀÄ. G½zÀAvÉ ¢UÀA§gÀ ¥ÀAxÀzÀ C£ÉÃPÀ vÁwéPÀvÉUÀ¼À£ÀÄß M¥ÀÄàªÀ EªÀgÀÄ vÁAwæPÀ ¥ÉæÃgÀuÉ ¥ÀqÉzÀ PÁgÀt </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀiÁvÀÈ¥ÀAxÀzÀ DgÁzsÀPÀgÁV ¹ÛçÃAiÀÄjUÀÆ ªÀÄÄQÛAiÀÄ£ÀÄß ¨ÉÆâü¹zÀgÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (PÉ.f. £ÁUÀgÁd¥Àà, 1998, ¥ÀÄl 142). PÀ£ÁðlPÀzÀ°è ¥Àæ¨sÁªÀ±Á°UÀ¼ÁVzÀÝ F ¥ÀAxÀPÉÌ PÀzÀA§, gÁµÀÖçöPÀÆl gÁd ªÀÄ£ÉvÀ£ÀUÀ¼ÀÄ zÁ£ÀzÀwÛ ¤ÃrªÉ. PÀ£ÁðlPÀzÀ°è ¥Àæ¨sÁªÀ±Á°AiÀiÁVgÀĪÀ eÁé¯ÁªÀiÁ°¤ AiÀÄQëAiÀÄ DgÁzsÀ£ÉUÉ AiÀiÁ¥À¤ÃAiÀÄgÀ ¥Àæ¨sÁªÀªÉà PÁgÀt. eÉÊ£ÀgÀ°è vÁAwæPÀvÉAiÀÄÄ ±ÁPÀÛ gÀÆ¥ÀzÀ°è §AzÀÄ ±ÁPÀÛ eÉÊ£ÀªÉ¤¹vÀÄ. 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F «µÀAiÀĪÀ£ÀÄß ¨É¼É¸ÀĪÀÅzÀPÉÌ E°è D¸ÀàzÀ E®è¢zÀÝgÀÆ ¥ÀA¥À£ÀÄ CjPÉøÀjAiÀÄ£ÀÄß GzÁvÀÛ £ÁgÁAiÀÄt, ªÀĺÉñÀégÀ, ªÉÆzÀ¯ÁV ªÀtÂð¹zÀ £ÀAvÀgÀzÀ ¥ÀzÀå vÀAvÀæzÀ ªÀÄvÀÄÛ eÉÊ£À¥ÀAxÀzÀ »£É߯ÉAiÀÄ°è ºÉƸÀ PÀÄvÀƺÀ®ªÀ£ÀÄß ºÀÄnÖ¸ÀÄvÀÛzÉ:<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">w¸ÀļÀzÉƼÀÄZÀѽ¥Àà ¥ÉƸÀ £ÉvÀÛgÉ PÉAzÀ½gÁUÉ PÀtÚUÀÄ<br />«ð¸ÀÄ«£ÀªÉÆPÀÄÌ £Éîé PÀgÀļÉÆýAiÉÄà ¨Á¼À ªÀÄÈuÁ¼ÀªÀiÁUÉ «Ä||<br />PÀ̸ÀÄgÀgÀ ªÉÄAiÉÆå¼ÁzÀ «gÀºÁVßAiÀÄ£ÁgÀĸÀÄwAvÉ vÀ£Àß PÀÆ|<br />gÀ¹AiÉƼÀqÀÄvÀÄð PÉÆAzÀ¹AiÀĽ (PÀð)¹AiÉÆ¼ï ¥ÀqÉ ªÉÄZÉÑ UÀAqÀ£Á<br /></span></b><span lang="EN-US" style="font-family: 'BRH JHK02';">(«PÀæªÀiÁdÄð£À«dAiÀÄA 1.6)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">»rzÀ wæ±ÀÆ®zÀ GPÀÄ̪À ºÉƸÀ £ÉvÀÛgÉ PÉAzÀ½gÁV, PÀtÂÚUÉ ¨sÀAiÀÄAPÀgÀªÁUÀĪÀAvÉ (C°è) eÉÆÃvÁqÀĪÀ PÀgÀļÀ ªÀiÁ¯ÉAiÉÄ J¼ÉAiÀÄ vÁªÀgÉAiÀÄzÀAmÁV - D «ÄÃjzÀ gÁPÀë¸ÀgÀ ªÉÄÊAiÀįÁèzÀ ©gÀºÀvÁ¥ÀªÀ£ÀÄß Dj¸ÀÄvÀÛ-CAvÉAiÉÄà ªÉÄÃ¯É ©zÀÄÝ, vÀ£Àß ºÀjvÀªÁzÀ RqÀ΢AzÀ (CªÀgÀ£Éß®è) PÉÆAzÀ ®vÁAV PÁ½AiÀÄÄ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÀqɪÉÄZÀÑ UÀAqÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (£ÉAzÀÄ ©gÀÄzÁAQvÀ£ÁzÀ CjPÉøÀj)AiÀÄ RqÀÎzÀ°è £É¯É¹gÀ°</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (qÁ. J¯ï. §¸ÀªÀgÁd, ¥ÀA¥À£À ¸ÀªÀĸÀÛ ¨sÁgÀvÀ PÀxÁªÀÄÈvÀ, 2001 ¥ÀÄl 14).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">wæ±ÀÆ®, PÀgÀļÀªÀiÁ¯É, RqÀÎzÀ ªÀtð£É¬ÄgÀĪÀ PÁ½AiÀÄ ªÀtð£É PÀ£ÁðlPÀzÀ AiÀiÁªÀÅzÉÆà vÁAwæPÀ ¥ÀAxÀzÀvÀÛ ¨ÉgÀ¼ÀÄ ªÀiÁqÀĪÀAwzÉ. F PÀÄjvÀÄ ºÉaÑ£À ¸ÁA¸ÀÌøwPÀ N¢UÉ CªÀPÁ±À«zÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæ¢ÃPÉë ªÀÄvÀÄÛ ªÀÄAqÀ®<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">G½zÀ ªÀÄwÃAiÀÄ ¢ÃPÉë (</span><span style="font-family: 'Times New Roman', serif; font-size: 10pt; text-align: left;">Initiation</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%; text-indent: 1cm;">) </span><span lang="EN-US" style="font-family: 'BRH JHK02'; line-height: 120%; text-indent: 1cm;">VAvÀ vÁAwæPÀ ¢ÃPÉë ºÉZÀÄÑ ¸ÀÆPÀëöä ªÀÄvÀÄÛ gÀºÀ¸Àå ªÀÄlÖzÀÄÝ. vÀAvÀæzÀ°è ¢ÃPÉë PÉÆqÀ®Ä §»gÀAUÀzÀ°è M§â UÀÄgÀÄ«zÀÝAvÉAiÉÄà CAvÀgÀAUÀzÀ </span><span lang="EN-US" style="font-family: 'Nudi 01 k'; line-height: 120%; text-indent: 1cm;">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02'; line-height: 120%; text-indent: 1cm;">CjªÀÅ</span><span lang="EN-US" style="font-family: 'Nudi 01 k'; line-height: 120%; text-indent: 1cm;">’</span><span lang="EN-US" style="font-family: 'BRH JHK02'; line-height: 120%; text-indent: 1cm;"> UÀÄgÀÄ«£À PÉ®¸À ªÀiÁqÀÄvÀÛzÉ. UÀÄgÀÄ ªÀÄvÀÄÛ ²µÀå£À ¸ÀA§AzsÀªÀ£ÀÄß £ÀªÀªÀiÁ¸À ¦AqÀªÀ£ÀÄß UÀ¨sÀðzÀ°è ¨É¼É¹ ²±ÀÄ«UÉ d£Àä PÉÆqÀĪÀ vÁ¬ÄUÉ ºÉÆð¸ÀĪÀ ªÀÄAvÀæªÉÇAzÀÄ CxÀªÀðtªÉÃzÀzÀ°èzÉ:</span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="EN-US" style="font-family: 'BRH JHK02';">DZÁAiÀÄð G¥À£ÀAiÀĪÀiÁ£ÉÆà §æºÀäZÁjtA PÀÈtÄvÉà UÀ¨sÀðªÀÄAvÀB|<br />vÀA gÁwæùÛçøÀæ GzÀgÉà «¨sÀwð vÀA eÁvÀA zÀæµÀÄÖªÀÄ©¸ÀAAiÀÄAw zÉêÁB|| (C.ªÉÃ: 11.5.3)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;"></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10pt; text-indent: 1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">“The Teacher initiating the Brahmacharin (Pupil) makes him (as it were) a spiritual child within him. Him for three nights he bears (like the mother the child) in his (spiritual) womb. When he is born (i.e.is a new spirithal being) the shining ones come together to see him” (The call of the Vedas, A.C. Bose, 1970, Pp. 118</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">).</span></div><br /><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">(-CAzÀgÉ, vÁ¬Ä ªÀÄUÀĪÀ£ÀÄß vÀ£ÉÆß¼ÀUÉ ¹éÃPÀj¸ÀĪÀ ºÁUÉ, UÀÄgÀÄ¢ÃPÉë ¤Ãr §æºÀäZÁjAiÀÄ£ÀÄß ¹éÃPÀj¸ÀÄvÁÛ£É. vÁ¬Ä ªÀÄUÀĪÀ£ÀÄß vÀ£Àß UÀ¨sÀðzÀ°èj¹PÉƼÀÄîªÀAvÉ ªÀÄÆgÀÄ gÁwæUÀ¼ÀÄ CªÀ£À£ÀÄß zsÀj¸ÀÄvÁÛ£É. d£¹zÀ ²±ÀĪÀ£ÀÄß £ÉÆÃqÀ®Ä zÉêÀvÉUÀ¼ÀÄ §gÀÄvÁÛgÉ). vÁAwæPÀ ªÀÄAqÀ®UÀ¼À£ÀÄß UÀÄgÀÄ-²µÀå ¥ÀgÀA¥ÀgÉAiÀÄ gÀºÀ¸Àå ¢ÃPÉëAiÀÄ »£É߯ÉAiÀÄ°è £ÉÆÃr, ªÀÄAqÀ®UÀ¼ÀÄ vÀPÁðwÃvÀ ¥ÀæwÃPÀUÀ¼ÀÄ JAzÀÄ «zÁéA¸ÀgÀÄ ¨sÁgÀwÃAiÀÄ avÀæPÀ¯ÉAiÀÄ »£É߯ÉAiÀÄ°è CzÀÄãvÀªÁV «±Éèö¹gÀÄvÁÛgÉ. FUÀ ªÀÄAqÀ®UÀ¼À »£É߯ÉAiÀÄ£ÀÄß ¸ÀAUÀæºÀªÁV £ÉÆÃqÀ§ºÀÄzÀÄ:<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">1. ¨ËzÀÞ, eÉÊ£À, ªÉÊ¢PÀ ªÀÄvÀUÀ¼À°è vÁAwæPÀ ªÀÄAqÀ®UÀ½zÀÄÝ CzÀgÀ ¥Àæ¨sÁªÀ ¨ËzÀÞgÀ ªÀÄÆ®PÀ ¥ÀƪÀð zÉñÀUÀ½UÉ ºÀgÀrzÉ. n¨Émï, d¥Á££À®Æè ªÀÄAqÀ®UÀ½ªÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">2. ªÀÄAqÀ®UÀ¼ÀÄ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">DzsÀĤPÀ ±ÉʪÀ, ±ÁPÀÛ, ªÀĺÁAiÀÄ£À ¨ËzÁÞ¢UÀ½AzÀ ¸ÀȶָÀ®ànÖ®è. ªÀiÁ£ÀªÀ£À ¨É¼ÀªÀtÂUÉAiÀÄ ¥ÁægÀA¨sÀ ¢±ÉAiÀÄ°èAiÉÄà «±ÀéªÁå¦Û</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> ºÉÆA¢ªÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. ¥ÀæwÃPÀzÀ G¥Á¸À£ÉAiÀÄ°è ¸ÁzsÀPÀ£ÀÄ ¹¢Þ ¥ÀqÉAiÀÄ®Ä CªÀ£À CºÀAPÁgÀªÀÅ ¥Àæw©A§zÀ°è (ªÀÄAqÀ®) CqÀZÀuɬĮèzÀ M¼ÀºÉÆPÀÄÌ, w½¢gÀĪÀÅzÀgÀ UÀrAiÀÄ£ÀÄß zÁl¨ÉÃPÀÄ. 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DzÀgÉ vÁ¬ÄAiÀÄ PÀȥɬÄAzÀ CªÀÅUÀ¼É®èzÀgÀ°èAiÀÄÆ GwÛÃtð£ÁzÉ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (¸Áé«Ä ±ÁgÀzÁ£ÀAzÀ, C£ÀÄ: ¥Àæ¨sÀıÀAPÀgÀ, ²æÃgÁªÀÄPÀȵÀÚ °Ã¯Á ¥Àæ¸ÀAUÀ, ¨sÁUÀ-1, 1994, ¥ÀÄl 207-08).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; tab-stops: 49.65pt; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. ¸ÀÄAzÀgÀ AiÀÄĪÀwAiÀÄÄ £ÀUÀß¼ÁVzÀÄÝ CªÀ¼À vÉÆqÉAiÀÄ ªÉÄÃ¯É PÀĽvÀÄ ¥ÀgÀªÀĺÀA¸ÀgÀÄ ¨sÁªÀªÀÄAiÀÄgÁV ªÀÄAvÀæ d¦¹zÀgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; tab-stops: 49.65pt; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">4. ¨ÁæºÀätÂÃAiÀÄÄ ±ÀªÀzÀ vÀ¯É§ÄgÀÄqÉAiÀÄ°è «ÄãÀ£ÀÄß ¨ÉìĹ ²æà dUÀ£ÁävÉUÉ vÀ¥Àðt ªÀiÁqÀĪÀÅzÀ£ÀÄß vÉÆÃj¹PÉÆlÖAvÉAiÉÄà ¥ÀgÀªÀĺÀA¸ÀgÀÆ ªÀiÁr CzÀ£ÀÄß ¹éÃPÀj¹zÀgÀÄ. PÉƼÉvÀ ªÀiÁA¸ÀªÀ£ÀÄß vÀ¥ÀðtzÀ £ÀAvÀgÀ ¹éÃPÀj¹zÀgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; tab-stops: 49.65pt; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">5. ¸ÀA¨sÉÆÃUÀ QæAiÉÄAiÀÄ°èzÀÝ ºÉtÄÚ UÀAqÀ£ÀÄß ¨ÁæºÀätÂAiÀÄÄ ¥ÀgÀªÀĺÀA¸ÀjUÉ vÉÆÃj¹zÁUÀ CzÀ£ÀÄß ²ªÀ±ÀQÛ°Ã¯É JAzÀÄ ¨sÁ«¹ ¸ÀªÀiÁ¢ü ¹ÜwUÉ vÀ®Ä¦, »A¢gÀÄVzÀ §½PÉ ¨ÁæºÀät ºÉýzÀÄÝ: </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¤Ã£ÀÄ CvÀåAvÀ PÀµÀÖ ¸ÁzsÀåªÁzÀ vÀAvÀæ ¸ÁzsÀ£ÉAiÀÄ°è ¹¢ÞAiÀÄ£ÀÄß ¥ÀqÉzÀÄ ¢ªÀå¨sÁªÀzÀ°è ¥Àæw¶×vÀ£ÁV¢ÝÃAiÉÄ. EzÉà «ÃgÀ¨sÁªÀ ¸ÁzsÀ£ÉAiÀÄ CAwªÀÄ UÀqÀĪÀÅ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (1994, ¥ÀÄl 209).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; tab-stops: 49.65pt; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">6. vÀAvÀæ ¸ÁzsÀ£É¬ÄAzÁV AiÉÆä JAzÀgÉ dUÀzÉÆåä, PÁgÀt JAzÀgÉ dUÀvÁÌgÀt, </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀÄ®¹Ã ¥ÀvÉæ ªÀÄvÀÄÛ £ÀÄUÉÎ ¸ÉÆ¥ÀÄà JgÀqÀÆ ¸ÀªÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> JA§ ¥À«vÀæ¨sÁªÀ£É, ¹Ûçà JAzÀgÉ vÁ¬Ä JA§ zÀ±Àð£À vÀªÀÄUÁzÀÄzÀgÀ eÉÆvÉUÉ ¸ÀıÀĪÀiÁß £ÁrAiÀÄÄ ¥ÀÆtðªÁV vÉgÉzÀÄ, ¥ÀgÀªÀĺÀA¸ÀgÀ ¸Àé¨sÁªÀ ¨Á®PÀ£ÀAvÁ¬ÄvÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÀgÀªÀĺÀA¸ÀgÀ ¸ÁzsÀ£ÉUÀ¼ÀÄ «ÃgÀ JA§ vÀAvÀæ ¸ÁzsÀ£ÉUÉ ¸ÉÃjzÀªÀÅ. ¸ÁªÀiÁ£ÀåªÁV vÀAvÀæªÉAzÀgÉ ¯ÉÊAVPÀvÉ CµÉÖ JA§ ¹Ã«ÄvÀ zÀȶÖPÉÆãÀPÉÌ ¸ÀªÀiÁdzÀ «ZÁgÀ»Ã£ÀvÉAiÉÆA¢UÉ ºÀ®ªÁgÀÄ vÁAwæPÀgÀ ªÀvÀð£ÉUÀ¼ÀÆ PÁgÀt. DzsÁåwäPÀ ¸ÁzsÀ£ÉUÁV ¹ÛçÃAiÀÄ£ÀÄß ºÉÆA¢ ªÀÄÄAzÉ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">AiÉÆÃVUÉ AiÉÆÃVtÂAiÀiÁV PÁrvÀÄÛ ªÀiÁAiÉÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> JA§ ¹ÜwUÉ vÁAwæPÀ£ÉÃPÀgÀÄ §AzÀÄ ªÀÄÄnÖzÀÄÝAlÄ. DzÀgÉ ºÉtÄÚ, ªÀiÁA¸À, «ÄãÀÄ, ªÀÄzsÀå, ¯ÉÊAVPÀ ¥ÀæAiÉÆÃUÀUÀ¼ÀÄ vÀAvÀæQÌgÀĪÀ MAzÀÄ zÁj. CzÀgÀ ¸À»vÀªÁV CxÀªÁ C¢®èzÉ ¸ÁzsÀPÀ£ÀÄ zÉúÀ¸ÀA¸ÀÌøwAiÀÄ£ÀÄß §¼À¹PÉÆAqÀÄ DvÀä ¸ÀA¸ÀÌøwUÉÃgÀĪÀÅzÀÄ ªÀÄÄRå.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæ, ºÉtÄÚ ªÀÄvÀÄÛ ¸ÁévÀAvÀæöå ¸ÀAUÁæªÀÄ<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæ±Á¸ÀÛçzÀ°è ºÉtÂÚUÉ ¥Áæ±À¸ÀÛöå. DPÉ ¸ÁzsÀ£À, ¸À®PÀgÀt ªÀÄvÀÄÛ ªÀÄÄRåªÁV ªÀÄgÉAiÀĨÁgÀzÀ ªÀiÁvÉAzÀgÉ UÀAr£À DvÉÆäãÀßwAiÀÄ ¨É¼ÀQ£À PÀA¨sÀ. ¸ÁégÀ¸ÀåPÀgÀªÉAzÀgÉ ¨sÁgÀvÀzÀ ¸ÁévÀAvÀæöå ¸ÀAUÁæªÀÄzÀ°è vÀAvÀæ¢ÃPÉëAiÀÄ ¥Àæ¨sÁªÀ PÉ®¸À ªÀiÁrzÀÄÝ. CzÀÄ UÁA¢üfAiÀĪÀgÀ C»A¸Á ªÀiÁUÀðzÀ°è ºÉÃUÉÆà ºÁUÉÃ- E£ÀßµÀÄÖ ¸ÀàµÀÖªÁV-PÁæAwPÁjUÀ¼À </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÁAiÀiÁßr</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">£À ¥ÀjPÀ®à£ÉAiÀÄ°è ¥Àædé°¹zÉ. ªÉÆzÀ°UÉ UÁA¢üÃfAiÀĪÀgÀ «µÀAiÀÄzÀ°è F PÀÄjvÀÄ ¹zÀÞªÀ£ÀºÀ½î PÀȵÀÚ±ÀªÀÄðgÀ ªÀiÁvÀÄUÀ¼ÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ºÉtÄÚ UÁA¢üÃfUÉ vÁ¬Ä. DPÉ EA¢æAiÀÄ ¨sÉÆÃUÀzÀ ¥ÀzÁxÀð JA§ÄzÀ£ÀÄß ºÉÆ®è. ºÉtÄÚ ¥ÁªÀ£À gÀƦ. CµÀÄÖ ºÉÆ®¸ÁV DPÉAiÀÄ£ÀÄß w½AiÀÄĪÀÅzÀÄ ¸ÁzsÀå«®è. »A¢£À PÁ®zÀ®Æè MAzÉÆAzÀÄ ¸À® «ÄAa£ÀAvÉ ºÉtÂÚ£À «µÀAiÀÄzÀ°è CzÀgÀ ºÉƼÉzÀĺÉÆÃVzÉ. £ÀÆgÀÄ vÀ¥ÀÄà ªÀiÁqÀ° ºÉtÚ£ÀÄß ºÀÆ«¤AzÀ®Æ PÀÆqÀ ºÉÆqÉAiÀĨÉÃqÀ JAzÀÄ vÀAvÀæ±Á¸ÀÛçzÀ ºÁ¢ »rzÀªÀgÀÄ ºÉýzÁÝgÉ. ªÉʵÀÚªÀgÀÄ E£ÀÄß ªÀÄÄAzÉ ºÉÆÃzÀgÀÄ. ºÉtÂÚUÉ ¥Á¥ÀªÉà E®è JAzÀgÀÄ. ªÉÆzÀ®Ä ºÉýzÀªÀgÀzÀÄ «avÀæ ªÉÊgÁUÀåªÁzÀgÉ EªÀgÀzÀÄ «¥ÀjÃw gÁUÀ. F ¥Á¥À ¥ÀÄtåUÀ¼À ¨ÉAQ vÀÄ¥ÀàUÀ¼À «µÀAiÀÄ ªÀåªÀºÁgÀzÀ°è UÁA¢üÃf vÉÆqÀVPÉƼÀîgÀÄ. UÁA¢üÃfAiÀÄ §æºÀäZÀAiÀÄð GvÀÛªÀÄ eÁwAiÀÄzÀÄ. F AiÀÄÄUÀ PÀAqÀ £Éʶ×PÀ §æºÀäZÁj CªÀgÀÄ. §æºÀäZÀAiÀÄð ªÀævÀ vÉÆlÖ ªÉÄÃ¯É CªÀjUÉ ºÉtÄÚ J£ÀÄߪÀ fêÀªÉ®è vÀAVAiÉÆà ªÀÄUÀ¼ÉÆà DV ºÉÆìÄvÀÄ. F ¤nÖ£À°è £ÀqÉzÀªÀjUÉ ºÉtÄÚ CVß PÀÄAqÀªÀ®è, AiÀÄdÕPÀÄAqÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (¹zÀÞªÀ£ÀºÀ½î PÀȵÀÚ±ÀªÀÄð: 1983, ¥ÀtðPÀÄn, ¥ÀÄl 111).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">UÁA¢üÃf vÀAvÀæ±Á¸ÀÛç ¸ÁzsÀPÀ JAzÀÄ F ªÀiÁw£À CxÀðªÀ®è. DzÀgÉ ªÉʵÀÚªÀ zsÀªÀÄðzÀ ªÀĪÀÄð CjvÀÄ DZÀj¹zÀÝ UÁA¢üÃfAiÀĪÀgÀ ªÀÄÆ®PÀ PÀAqÀÆ PÁtzÀAvÉ ºÉtÂÚVgÀĪÀ UËgÀªÀ ¸ÁÜ£À ºÉaÑvÀÄ. EzÀÄ £ÉÊd vÀAvÀæ±Á¸ÀÛçPÉÌ zÉÆqÀØ PÉÆqÀÄUÉAiÉÄà DVzÉ. 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[......] PÉ®ªÉǪÉÄä F ¥ÀæweÁÕ ¹éÃPÁgÀ PÁ½ÃªÀÄA¢gÀzÀ §zÀ®Ä ±Àä±Á£ÀzÀ°è £ÀqÉAiÀÄÄwÛvÀÄÛ [......] ¢ÃPÉë ¥ÀqÉzÀ £ÀAvÀgÀ ºÉƸÀ§¤UÉ UÀÄ¥ÀÛ£ÁªÀÄ PÉÆqÀÄwÛzÀÝgÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (2005: ¥ÀÄl 101-102).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">§AUÁ¼À, C¸ÁìA ¥ÁæAvÀUÀ¼ÀÄ »A¢¤AzÀ®Æ ±ÀQÛ ¥ÀAxÀzÀ ªÀÄÄRå ¸ÁÜ£ÀUÀ¼ÀÄ JA§ÄzÀ£ÀÄß ¸Àäj¹zÀgÉ, gÁ¶ÖçÃAiÀÄ DAzÉÆî£ÀzÀ°è vÁAwæPÀ-±ÁPÀÛ¥ÀAxÀzÀ ¥Àæ¨sÁªÀªÀ£ÀÄß £ÉÆÃqÀĪÁUÀ D±ÀÑAiÀÄðªÉ¤¸ÀĪÀÅ¢®è. </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀAzÉà ªÀiÁvÀgÀA</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> VÃvÉUÉ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">D£ÀAzÀ ªÀÄoÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> PÁzÀA§j¬ÄAzÀ ¥ÀævÉåÃPÀ ¸ÁÜ£À zÉÆgÉvÀÄ CzÀÄ ¸ÁévÀAvÀæöå DAzÉÆî£ÀzÀ ¸ÀÆáwð VÃvÉAiÀiÁzÀ PÁ®zÀ°è §AzÀ C£ÉÃPÀ ºÁqÀÄUÀ¼À ªÉÄÃ¯É ±ÁPÀÛ ¸ÀA¥ÀæzÁAiÀÄzÀ £ÉÃgÀ¥Àæ¨sÁ«zÉ. 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PÁ®PÁ®PÉÌ ¸ÁªÀiÁfPÀ-¸ÁA¸ÀÌøwPÀ CªÀ±ÀåPÀvÉUÉ vÀPÀÌAvÉ zÉêÀvÉUÀ¼ÀÄ ºÀÄlÄÖªÀÅzÀÄ, gÀÆ¥ÁAvÀgÀUÉƼÀÄîªÀÅzÀÄ ¨sÁgÀvÀPÉÌ ºÉƸÀvÀ®è. ªÀÄÄRåªÁV £É®zÀ ªÀÄÄQÛ, ¹Ûçà UËgÀªÀ EªÀÅ UÁA¢üÃf ªÀÄvÀÄÛ ªÉÄ¯É G¯ÉèÃT¹zÀ PÁæAwPÁjUÀ¼À £ÀqÀÄ«£À ¸ÁªÀiÁ£Àå CA±À. vÀAvÀæªÀÅ ¸ÀªÀÄAiÀÄ §AzÁUÀ DzsÁåwäPÀ DAiÀiÁªÀÄzÉÆqÀ£ÉÃ, ¸ÁªÀiÁfPÀ dªÁ¨ÁÝjAiÀÄ£ÀÄß ªÀ»¸ÀĪÀÅzÀPÉÌ EzÉÆAzÀÄ GvÀÛªÀÄ GzÁºÀgÀuÉ, ¨sÁgÀwÃAiÀÄ £ÀªÉÇÃzÀAiÀÄ ¸Á»vÀåzÀ »A¢gÀĪÀ MAzÀÄ ªÀÄÄRå ¥ÉæÃgÀuÉ gÁ¶ÖçÃAiÀÄvÉAiÀÄ ºÀÄqÀÄPÁl, F ºÀÄqÀÄPÁlPÉÌ ±ÁPÀÛvÀAvÀæzÀ £É®UÀnÖzÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">EzÉà ¸ÀAzÀ¨sÀðzÀ°è §AUÁ¼ÀzÀ «µÀAiÀÄzÀ°è ªÀÄvÉÆÛAzÀÄ «µÀAiÀÄ ¥Àæ¸ÁÛ¦¸À§ºÀÄzÀÄ. CzÀÄ ¨sÁgÀwÃAiÀÄ gÉƪÀiÁåAn¸ÀA£À ªÀÄÆ®zÀ ¥Àæ±Éß. ©ænµï ²PÀëtzÀ ¥ÀjuÁªÀĪÁV zÉùà ²PÀët ªÀåªÀ¸ÉÜUÉ ¥ÀgÁåAiÀĪÀĪÁV §AzÀ EAUÉèAqï ªÀÄÆ®PÀ ¥ÀoÀåPÀæªÀÄ¢AzÁV ªÀqïðªÀvïð, µÉ°è EvÁå¢ gÉƪÀiÁåAnPï PÀ«UÀ¼À NzÀÄ ¨sÁgÀvÀPÉÌ §A¢vÀÄ. D ªÀÄÆ®PÀªÉà PÀ£ÀßqÀ, ªÀÄgÁp, §AUÁ½AiÀÄ°è £ÀªÉÇÃzÀAiÀÄ gÉƪÀiÁåAn¸ÀA vÀ¼ÀºÁ¢AiÀÄ ªÉÄÃ¯É gÀÆ¥ÀÄUÉÆArvÀÄ JA§ d£À¦æAiÀĪÁzÀ«zÉ. DzÀgÉ ±ÀAPÀgÀ ªÉÆPÁ² ¥ÀÄuÉÃPÀgÀgÀÄ EzÀPÉÌ «gÀÄzÀÞªÁV ªÁzÀ ºÀÆrzÁÝgÉ. CzÀÄ vÁAwæPÀ ¥ÀAxÀzÀ DzsÁgÀ¢AzÀ ¨sÁgÀwÃAiÀÄ gÉƪÀiÁåAn¸ÀA£ÀÄß vÉÆÃj¸ÀĪÀ ¥ÀæAiÀÄvÀß.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">EAVèµï ²PÀët, zsÁ«ÄðPÀ ¸ÀÄzsÁgÀt ZÀ¼ÀĪÀ½UÀ¼ÀÄ §AUÁ®zÀ°è ±ÀÄgÀĪÁ¬ÄvÀÄ; ±ÀQÛ ¥ÀÆeÉAiÀÄ £ÁqÁzÀ §AUÁ¼ÀzÀ°è </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">gÉƪÀiÁåAnPï PÁªÀåzÀ ¹Ûçà ¸ËAzÀAiÀÄðzÀ DzÀgÀuÉUÀÆ ±ÁPÀÛ-vÁAwæPÀ ¸ÀA¥ÀæzÁAiÀÄPÀÆÌ ¸ÀÄ®¨sÀªÁV ªÉÄüÀ PÀÆrvÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (1995: ¥ÀÄl 117). F »£É߯ÉAiÀÄ°è ¥ÀÄuÉÃPÀgÀgÀÄ ªÁzÀ »ÃVzÉ:<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">1. ²æà gÁªÀÄPÀȵÀÚ ¥ÀgÀªÀĺÀA¸À (ªÉÃzÁAvÀ), ±Àðjà «ªÉÃPÁ£ÀAzÀ (¸À£Áå¸À ªÀiÁUÀð) UÀ½AzÀ EAVèµï ªÁvÁªÀgÀt, ±ÁPÀÛ ¥Àæ¨sÁªÀzÀ »£É߯ÉAiÀÄ°è §AUÁ¼ÀzÀ°è ºÉƸÀvÀ£À §A¢vÀÄ. ªÀÄÄAzÉ CgÀ«AzÀ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÉúÁvÀäUÀ¼À ¸ÁªÀÄ£Àé¬ÄPÀ vÀvÀé</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀÇ ªÀÄÆrvÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">2. §æeÉÃAzÀæ£ÁxÀ ¹Ã®gÀÄ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥Á±ÁÑvÀå gÉƪÀiÁåAn¹gÀhÄAªÀ£Éßà ¨sÁgÀwÃAiÀÄ vÀvÀézÀ CAUÀªÁV £ÉÆtUÀ®Ä AiÀÄwß¹zÀgÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -21.3pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. ¥ÀÄuÉÃPÀgÀgÀÄ ±ÁPÀÛ ªÀÄÆ®zÀ gÉƪÀiÁåAn¸ÀA F ªÉÆzÀ¯Éà DVvÀÄÛ JA§ÄzÀ£ÀÄß vÉÆÃj¹PÉÆnÖgÀĪÀÅzÀÄ ¸ÁégÀ¸ÀåPÀgÀªÁVzÉ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">MAzÀÄ jÃw¬ÄAzÀ </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Naturalisation (Humanisation) of the Supernatual </span><span lang="EN-US" style="font-family: 'BRH JHK02';">§AUÁ¼ÀzÀ°è JAzÉÆà DV ºÉÆÃVvÀÄÛ. ZÉÊvÀ£ÀåzÉêÀ PÁ£Àí¥ÁzÀ (qÉÆA© ¥ÀzÀUÀ¼ÀÄ) eÁåAiÀĹ, «zÁå¥Àw, EªÀgÉ®ègÀÆ ±ÁPÀÛ gÉƪÀiÁåAnPÀgÉÃ. eÁåAiÀĹAiÀÄAvÀÆ ªÀÄĸÀ¯Áä£À£ÀÄ. mÁUÉÆÃgÀgÀ ºÀÄåªÀĤ¸ÀA §AUÁ¼ÀPÉÌ CªÀ±ÀåªÉà EgÀ°®è. §AzÀzÀÄÝ M¼ÉîAiÀÄzÉà D¬ÄvÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (CzÉÃ). <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -13.65pt;"><span lang="EN-US" style="font-family: 'BRH JHK02';">4. §ºÀ¼À ªÀÄÄRåªÁV ¥ÀÄuÉÃPÀgÀgÀ ®PÀëöå«gÀĪÀÅzÀÄ CzÀĪÀgÉUÀÆ EzÀÝ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀÄÆ® ±ÁPÀÛ ¸ÀégÀÆ¥ÀzÀ</span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;"> ritualism </span><span lang="EN-US" style="font-family: 'BRH JHK02';">C½zÀÄ CzÀgÀ §zÀ®Ä vÀĸÀÄ </span><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 10pt; line-height: 120%;">Intellectural Abstraction </span><span lang="EN-US" style="font-family: 'BRH JHK02';">¨ÉgÀvÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">PÉÆArzÀÄÝ §UÉÎ. £ÀªÉÇÃzÀAiÀÄzÀ°è GAmÁzÀ ¨sÁµÁ ¸ÀÄPÀĪÀiÁgÀvÉAiÀÄ ªÀÄÆ® E®èzÉ! ªÉÆPÁ² PÉÆqÀĪÀ ¥ÀjPÀ®à£ÁvÀäPÀ ºÀAvÀzÀ°è®è¢zÀÝgÀÆ ¨sÁ¶PÀ ºÀzÀzÀ°è §AzÀ §zÀ¯ÁªÀuÉ JµÉÖAzÀgÉ EAzÀÄ £ÁªÀÅ ²QëvÀgÀÄ vÀAvÀæªÉAzÀgÉ £ÁZÀĪÀµÀÄÖ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀÄÄAzÉ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> §AzÀzÀÝgÀ ¸ÀÆZÀPÀªÁVzÉ. CªÀgÀÄ ¸ÀÆa¸ÀĪÀAvÉ </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀiÁvÉ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> ¥ÀzÀzÀ §zÀ®Ä </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀiÁvÀȱÀQÛ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">; </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">PÁªÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ §zÀ®Ä </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÉæêÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">wæ¥ÀÄgÀ ¸ÀÄAzÀj vÀvÀé</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÀ eÁUÀzÀ°è </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¸ËAzÀAiÀÄð vÀvÀé</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">; </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¸ÀȶÖ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> §zÀ®Ä </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">‘</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¤¸ÀUÀð</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; margin-left: 49.65pt; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'BRH JHK02';">CAzÀgÉ gÁ¶ÖçÃAiÀÄ DAzÉÆî£ÀzÀ »£É߯ÉAiÀÄ°è vÁ¬ÄvÀvÀé D¼ÀªÁV PÉ®¸À ªÀiÁrzÀÝgÀÆ CzÀgÀ ¸ÁªÀiÁfPÀ-vÁwéPÀ £É¯ÉUÀ¼ÀÄ ¤®ðPÀëöåPÉÌ M¼ÀUÁzÀªÀÅ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæ¸ÁzsÀ£É- MAzÀÄ ºÉÆgÀ£ÉÆÃl<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 10.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: 1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæ¸ÁzsÀ£ÉAiÀÄ ¥Àæ¥ÀAZÀ ¤UÀÆqsÀ. ¸ÀzÀ¸ÀågÀ®èzÀªÀjUÉ C°è ¥ÀæªÉñÀ«®è. 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G½zÀ PÉÆãÀUÀ¼À£ÀÄß M¼ÀUÉƼÀÄîªÀ - ªÀiÁ¥Àðr¸ÀĪÀ zÀȶÖzÀ±Àð£À.<o:p></o:p></span></div><b><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 12pt; line-height: 120%;"><br clear="all" style="page-break-before: always;" /> </span></b> <div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02'; font-size: 14pt; line-height: 120%;">ºÉaÑ£À N¢UÉ</span></b><b><span lang="EN-US" style="font-family: 'BRH JHK02';"><o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'BRH JHK02';">(PÀ£ÀßqÀzÀ°è vÁ¬Ä ¸ÀA¸ÀÌøwAiÀÄ£ÀÄß PÀÄjvÀÄ ºÉaÑ£À CzsÀåAiÀÄ£À DUÀ¨ÉÃQzÉ. 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CgÀ«AzÀgÀÄ, (2002), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÀÄ£ÀgÀÄfÓêÀ£ÀzÀvÀÛ »AzÀÆ zsÀªÀÄð</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ²æà CgÉÆéAzÉÆà PÀ¥Á°±Á¹Ûç E£ï¹ÖlÆåmï D¥sï ªÉâPÉ PÀ®Ñgï, ¨ÉAUÀ¼ÀÆgÀÄ (¥Àæ.ªÀÄÄ. 2002).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">2. PÀ±Àå¥ï Dgï.J¯ï., </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">DzsÀĤPÀªÁV vÀAvÀæ ¢Ã¦PÁ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, (CzÉà ¸ÀA¸ÉÜ), ¨ÉAUÀ¼ÀÆgÀÄ (¥Àæ. ªÀÄÄ. 2002).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. ¥ÀÄlÖ¸ÁéªÀÄAiÀÄå ©., (1983), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">²ªÀªÀÄ»ªÀÄß ¸ÉÆÛÃvÀæ - ¸ËAzÀAiÀÄ𠮺Àj (PÁªÀågÀÆ¥À PÀ£ÀßqÀ C£ÀĪÁzÀ)</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ²æà zÀÄUÁð §ÄPï læ¸ïÖ, ¨ÉAUÀ¼ÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">4. gÁzsÁPÀĪÀÄÄzÀ ªÀÄÄRfð, (1978), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÁæaãÀ ¨sÁgÀvÀzÀ ²PÀët</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, PÀ£ÁðlPÀ «±Àé«zÁå®AiÀÄ, zsÁgÀªÁqÀ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">5. ¸ÀA.©.J¸ï. ¸ÀtÚAiÀÄå (1988), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÉêÀZÀAzÀæ «gÀavÀ gÁeÁªÀ½ PÀxÁ¸ÁgÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¥Àæ¸ÁgÁAUÀ, ªÉÄʸÀÆgÀÄ «±Àé«zÁ央AiÀÄ, ªÉÄʸÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">6. ¸À.PÉ.Dgï.±ÉõÀVj, (1988) </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÉêÀZÀAzÀæ «gÀavÀ gÁeÁªÀ½ PÀxÁ¸ÁgÀ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¥Àæ¸ÁgÁAUÀ, ªÉÄʸÀÆgÀÄ «±Àé«zÁ央AiÀÄ, ªÉÄʸÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">7. £ÁUÀgÁd¥Àà PÉ.f., (1998), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">EPÀÌlÄÖ-©PÀÌlÄÖ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">’</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, C¤PÉÃvÀ£À ¥ÀæPÁ±À£À, vÀĪÀÄPÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">8. £ÁUÀgÁd¥Àà PÉ.f., (2003), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÉêÁAUÀ ¸ÀA¸ÀÌøw</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¥Àætw ¥ÀæPÁ±À£À, vÀĪÀÄPÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">9. £ÁUÀgÁd¥Àà PÉ.f. ªÀÄAiÀÄÆgÀ (ªÉÄÃ. 2006), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">ªÀiÁvÀÄ ªÀÄAxÀ£À</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¢ (¦æAlgïì) ªÉÄʸÀÆgÀÄ ¥ÉæöʪÉÃmï °«ÄmÉqï, ¨ÉAUÀ¼ÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">10. gÁªÀÄZÀAzÀægÁªï J¸ï.PÉ., (2004), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">AiÀÄAvÀæUÀ¼ÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ²æà CgÉÆéAzÉÆà PÀ¥Á°±Á¹ÛçÃ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ªÉÃzÀ ¸ÀA¸ÀÌøw ¸ÀA¸ÉÜ ¨ÉAUÀ¼ÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">11. gÁªÀÄZÀAzÀægÁªï J¸ï.PÉ., (2004), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">®eÁÓUËj</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¥Àæ¸ÁgÁAUÀ, PÀ£ÀßqÀ «±Àé«zÁå®AiÀÄ, ºÀA¦, «zÁågÀtå.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">12. ²æÃPÀAoÀ±Á¹Ûçà J¸ï., (1975), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¨sÁgÀwÃAiÀÄ ¸ÀA¸ÀÌøw</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¥Àæ¸ÁgÁAUÀ, ªÉÄʸÀÆgÀÄ «±Àé«zÁå®AiÀÄ, ªÉÄʸÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">13. ²æÃPÀAoÀ±Á¹Ûçà J¸ï., (1975), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¸ÀA±ÉÆÃzsÀ£À ¯ÉÃR£ÀUÀ¼ÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';"> (¸ÀA:) qÁ. ¨Á.gÁ. UÉÆÃ¥Á®, qÁ.n.«. ªÉAPÀmÁZÀ®±Á¹ÛçÃ, ªÉÄʸÀÆgÀÄ «±Àé«zÁ央AiÀÄ, ªÉÄʸÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">14. ¸ÀvÀåPÁªÀÄ, </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæAiÉÆä</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, C£ÀAvÀ«ÄvÀæ §¼ÀUÀ, ¨ÉAUÀ¼ÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">15. ¸Áé«Ä gÁªÀÄ, (1996), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">»ªÀiÁ®AiÀÄzÀ ªÀĺÁvÀägÀgÀ ¸À¤ß¢üAiÀÄ°è</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, PÁªÀÄzsÉãÀÄ, ¨ÉAUÀ¼ÀÆgÀÄ (¥Àæ.ªÀÄÄ. 1991).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">16. ±ÀAPÀgÀ ªÉÆPÁ² ¥ÀÄuÉÃPÀgÀ (1995), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">C¥ÀÆtð ªÀvÀðªÀiÁ£À PÁ®, PÀ£ÀßqÀ ¥ÀĸÀÛPÀ ¥Áæ¢üPÁgÀ, ¨ÉAUÀ¼ÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">17. AiÀÄqÀvÉÆgÉ ¸ÀħâgÁAiÀÄ ±ÀªÀÄð (1993), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">²æà ®°vÁ ¸ÀºÀ¸Àæ £ÁªÀÄzÀ ¨sÁµÀå</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ²æà UÀt¥Àw ¸ÀaÑzÁ£ÀAzÀ D±ÀæªÀÄ, ªÉÄʸÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">18. ¸Áé«Ä ºÀµÁð£ÀAzÀ, (1998), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">zÉë ªÀÄvÀÄÛ CªÀÅUÀ¼À gÀÆ¥ÀUÀ¼ÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¤vÁå£ÀAzÀ ¦æAlgïì, ¨ÉAUÀ¼ÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">19. ¸Áé«Ä ºÀµÁð£ÀAzÀ, (1998), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæUÀ¼ÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ¤vÁå£ÀAzÀ ¦æAlgïì, ¨ÉAUÀ¼ÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">20. ¸Áé«Ä ±ÁgÀzÁ£ÀAzÀ, (1994), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">²æà gÁªÀÄPÀȵÀÚ °Ã¯Á ¥Àæ¸ÀAUÀ (¨sÁUÀ-1,2), ²æÃgÁªÀÄPÀȵÀÚ D±ÀæªÀÄ, ªÉÄʸÀÆgÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">21. ±ÀAPÀgÀ ¸ÉÆêÀÄAiÀiÁf, (2004), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">£ÁgÁAiÀÄt £ÀA§ÆzÀj PÀÈvÀ vÀAvÀæ ¸ÀªÀÄÄZÀÑAiÀÄ</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ²æà ¨sÀUÀªÀzÁàzÀ ¥ÀæPÁ±À£À, ¹gÀ¹.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">22. «ÄÃgÁ ZÀPÀæªÀwð, (1999), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">vÀAvÀæ ªÀÄ£ÉÆêÉÊeÁÕ¤PÀ ¥ÀjPÀ®à£É</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, CPÀëgÀ ¥ÀæPÁ±À£À, ºÉUÉÆÎÃqÀÄ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">»A¢<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">1. qÁ. ºÀeÁj ¥Àæ¸Ázï, </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¢éªÉâ UÀæAxÁªÀ½</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, £ÁxÀ¥ÀAxÀ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">2. ªÁ¸ÀÄzÉêÀ±ÀgÀt CUÀæªÁ®, (1964), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">¥ÁæaãÀ ¨sÁgÀwÃAiÀÄ ¯ÉÆÃPÀzsÀªÀÄð</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, CºÀªÀÄzï¨Ázï.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">3. dUÀ¢Ã±ï ZÀAzÀæ eÉÊ£ï (1965), </span><span lang="EN-US" style="font-family: 'Nudi 01 k';">“</span><span lang="EN-US" style="font-family: 'BRH JHK02';">eÉÊ£À DUÀªÀÄ ¸Á»vÀå ªÉÄà ¨sÁgÀwÃAiÀÄ ¸ÀªÀiÁd</span><span lang="EN-US" style="font-family: 'Nudi 01 k';">”</span><span lang="EN-US" style="font-family: 'BRH JHK02';">, ªÁgÀuÁ¹.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">4. eÉÊ£À ¸Á»vÀå PÁ §ÈºÀvï EwºÁ¸À, ¥Á±Àéð£ÁxÀ «zÁå®AiÀÄ ¸ÀA¸ÁÜ£À, »AzÀÆ AiÀÄƤªÀ¹ðn, ªÁgÀuÁ¹.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">5. PÀ¯Áåt - wÃxÁðAPÀ (1957-d£ÀªÀj).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">6. PÀ¯Áåt - ±ÀQÛ CAPÀ.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; margin-left: 2.0cm; margin-right: 0cm; margin-top: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none; text-indent: -1.0cm;"><span lang="EN-US" style="font-family: 'BRH JHK02';">7. ªÀdæªÀ®è¨sÀ ¢éªÉâÃ, (1995), ¨sÁgÀwà vÀAvÀæ±Á¸ÀÛç, PÉÃA¢æÃAiÀÄ GZÀÒ w§âwà ²PÁë ¸ÀA¸ÁÜ£À, ¸ÁgÀ£ÁxÀ, ªÁgÀuÁ¹.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><b><span lang="EN-US" style="font-family: 'BRH JHK02';">EAVèõï<o:p></o:p></span></b></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5.0pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">1. Papul Jayaker, (1989), “The Earth Nother”, Harper, Son Francisco.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">2. T.V.Kapali Sastry, “Collected Works of T.V. Kapali Sastry, Pondichery.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">3. S. Srikanta Sastri (1940), “Sources of Karnatka History, Vol. I” Mysore.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">4. H. Whitehead, (1921), “The Village Gods of South Idia”, Calcutta.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">5. J. Gonda, (1954), “Aspects of Early Vaishnavism”, Utrecht.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">6. (Ed:) Haridas Bhattacharya, (1956), “The Cultural Heritage of India”, Calcutta.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">7. Debiprasad Chattopadhyaya, (1959), “Lokayata”, New Delhi.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">8. Bankey Behari, (1991), “Sufis, Mystics and Yogis of India”, Bombay.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">9. D.C. Sircar, (1948 JRAS, Bengal), “The Sakthi Pithas”.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">10. (Ed:) D.C.Sircar (1967), Sakti Cult and Tara, Calcutta<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">11. Ved Kumari (1973), The Nilamata Purana, Srinagar<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">12. Jogesh Das (1972), Folklore of Assam, New Delhi<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">13. G.C. Pande (1989), Mahamahopadhyaya Gopinath Kaviraj, New Delhi (Reprint 1998)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">14. Studies on the Tantras (1989), Kolkata (Third Reprint 2002).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">15. Arthor Avlon, (1927) Matranirvan Tantram (great liberatio), Madras<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">16. Arthor Avlon (1953) Hymns to Kali Karpura distoram, Madras<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">17. Arthor Avlon and Ellen Avalon, (1952), Hymns to the Goddess, Madras<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">18. Prabodh C. Bagchi, (1939), Studies in the Tantras, Calcutta<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">19. Banarjee S,C., (1978) Tantra in Bengal, Calcutta<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">20. Benoytash Bhattacharya (Ed), (1931), Guhyasamaja Tantra of Tathagata Guhyaka, Baroda<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">21. D.C. Bhatta Charya, Tantric Buddhist Iconographic Sources, MLBD, New Delhi (1974).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">22. Shivachandra Bhattacharya, Principles of Tantra (1960), Madras<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">23. Abinava Gupta, (1918), Tantraloka (vol 1-12), Maharaja of Jammu and Kashmir<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">24. C. Anne Klein (1985), Ed. The Tantric Distinction: An Introduction to Tibetiau Bhuddhism, London.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">25. M.P. Pandit (1973), (Ed): Kuttarnava Tantra, Madras<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">26. M.P. Pandit (1959), Kundalini Yoga, Madras<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">27. S.K. Ramachandra Rao (1979), Tantra Mantra Yantra, New Delhi<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">28. Vidyaranya Yati (1937), Sri Vidyarnvatantram, Srinagar<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">29. Geoffery Hudson (1983), The concealed Wisdom in World Mythology, Adyar, Madras (First Reprint, 1990)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">30. S. Mokashi Punekar (Ed) (1979) Avadoota Gita, New Delhi<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">31. Sudhir Kakar, (1996), The Indian Psyche, New Delhi<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 120%; margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-indent: -1cm;"><span lang="EN-US" style="font-size: 10pt; line-height: 120%;">32. Samaresh Bose (1982). The Tantrik Quest - Amrit Bazar Patrika. Calcutta.</span><span lang="EN-US" style="font-size: 10.0pt; line-height: 120%;"><o:p></o:p></span></div><br /><div class="MsoNormal" style="margin-bottom: 5pt; margin-left: 2cm; margin-right: 0cm; margin-top: 0cm; text-align: justify; text-indent: -1cm;"><span style="font-family: 'BRH JHK02'; font-size: x-small;"><span style="line-height: 15px;"><br /></span></span></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-5285305679455768851?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-15422615778392990242011-09-16T15:01:00.000+05:302011-09-16T15:01:21.796+05:30Feminism and Gender Theory syllabus[<i>I was going through some of the literature on feminism, and found it interesting, SINCE IT MAY HELP SOME ONE WHO wants to start reading Feminism from somewhere.So here it is.Thinking to publish useful pieces on feminsm for the benefit of the readers G B H</i>]<br />1.Introduction Foremothers<br />2.Mary Wollstonecraft, "Of the Pernicious Effects which Arise from the Unnatural Distinctions Established in Society"<br />3.John Stuart Mill, "The Subjection of Women"<br />4.Martin Luther King Day<br />5.Margaret Fuller, “The Great Lawsuit. Man versus Men. Woman versus Women”<br />6.Virginia Woolf, A Room of One’s Own<br />7.Simone de Beauvoir, The Second Sex (excerpt)<br />8.Anglo-American Feminism, French Feminism, and Film Theory<br />9.Kate Millet, from Sexual Politics [A&C]<br />10.Second Wave Overview<br />11.Gayle Rubin, "The Traffic in Women"<br />12.Luce Irigaray, “Women on the Market”; “Commodities Among Themselves”td><br />13.Maurice Blanchot, Helene Cixous, "The Laugh of the Medusa"<br />14.Monique Wittig, “One is Not Born a Woman”<br />15.Julia Kristeva, "Women’s Time"<br />16.Annette Kolodny, "Dancing Through the Minefield"<br />17.Laura Mulvey, “Visual Pleasure and Narrative Cinema”<br />18.Ethics, Law, and Feminism<br />19.Anette C Baier, "The Need for More than Justice"<br />20.Joan Tronto, “An Ethic of Care” [A&C]<br />21.Jean Hampton, “Feminist Contractarianism”<br />22.Martha Nussbaum, Women and Cultural Universals”<br />23.Catherine MacKinnon, “Difference and Dominance”<br />24.Susan Moller Okin, “Toward a Humanist Justice”; Drucilla Cornell, “Feminism, Utopianism, and the Role of the Ideal in Political Philosophy”<br />25.Postmodernism, Science, and Feminism<br />26.Nancy Fraser and Linda Nicholson, “Intro”<br />27.Nancy Fraser and Linda Nicholson, “Social Criticism without Philosophy”<br />28.Elizabeth Anderson, “Feminist Epistemology: An Interpretation and a Defense”<br />29.Helen Longino, “Can There Be Feminist Science?”<br />30.Sandra Harding, “Rethinking Standpoint Epistemology”<br />31.Donna Haraway, “Cyborg Manifesto”<br />32.Postcolonialism, and Feminism<br />33.bell hooks, “Black Women: Shaping Feminist Theory”<br />34.Barbara Smith, “Toward a Black Feminist Criticism”<br />35.Audre Lorde, “The Master’s Tools Will Never Dismantle the Master’s House,” “Sexism”<br />36.Gayatri Spivak, “Can the Subaltern Speak?”<br />37.Gloria Anzaldua, "Towards a New Consciousness" from Borderlands<br />38.Lesbian, Gender, and Queer Theory<br />39.Adrienne Rich, “Compulsory Heterosexuality and Lesbian Existence”<br />40.Teresa de Lauretis, “Sexual Indifference and Lesbian Representation”<br />41.Gayle Rubin "Thinking Sex"<br />42.Judith Butler, from Gender Trouble <br />43.Eve Sedgwick, “Axiomatic”<br />44.Transgender and Masculinity Theory<br />45.Leslie Feinberg, from Stone Butch Blues<br />46.Sandy Stone “The Empire Strikes Back: A Post-Transsexual Manifesto”<br />47.Anne Fausto-Sterling, “How to Build a Man”<br />48.Judith Halberstam, from Female Masculinity (excerpt)<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-1542261577839299024?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-28409094026993867332010-11-09T23:53:00.000+05:302010-11-09T23:53:30.713+05:30ಬೆಂಕಿಯಲ್ಲಿ ಅರಳಿದ ಹೂವು-ಆನಂದ ಝಂಜರವಾಡಆನಂದ ಝಂಜರವಾಡ ಬದುಕಿನ ಬೆಂಕಿಯಲ್ಲಿ ಅರಳಿದ ಹೂವು.ಬಡತನ, ವೃತ್ತಿ ಜೀವನದ ಹೋರಾಟದ ನಡುವೆ ಕಾವ್ಯದ ರಚನೆ ಮತ್ತು ಮೀಮಾಂಸೆಯಲ್ಲಿ ತೊಡಗಿದವರು.ಕಾವ್ಯದ ಮೂಲ ಆಚಾರ್ಯ ಮಧ್ವರ ಸಿದ್ಧಾಂತದ ಭದ್ರ ಬುನಾದಿಯ ಮೇಲೆ ನಿಂತಿದೆ.ಕನ್ನಡ,ಸಂಸ್ಕೃತ,ಮರಾಠಿ ಕಾವ್ಯ ಧಾರೆಗಳಲ್ಲಿ ಮಿಂದ ಆನಂದರು ಜ್ಣಾನೇಶ್ವರ, ಪುರಂದರಾದಿ ದಾಸವರೇಣ್ಯರ ಭಕ್ತಿಯ ಬೇಗೆ ಮತ್ತು ಅಸ್ತಿತ್ವವಾದಿಗಳ ಅಂದಿನಂದಿನ ದಂದುಗದ ಉರಿಯ ನಡುವೆ ಮಾಗುತ್ತ ಕಾವ್ಯ ಮಾಡಿದವರು.ಹಿಂದುಸ್ತಾನಿ ಸಂಗೀತದ ಮಹಾ ರಸಿಕರಾದ ಇವರು ಕಾವ್ಯ ಭಾಷೆಯಿಂದ ಸಂಗೀತದ ಭಾಷೆಯ ಕಡೆಗೆ ಸರಾಗವಾಗಿ ಸಂಚರಿಸಬಲ್ಲವರು.ರಂ.ಶ.ಲೊಕಾಪುರ ಅವರ ಅನುವಾದ ಕುರಿತು ಇವರು ಎತ್ತಿದ ಪ್ರಶ್ನೆಗಳು ಮುಂದೆ ಕೀರ್ತಿನಾಥ ಕುರ್ತಕೋಟಿ ಅವರು”ಅಧ್ಯಯನ ಮತ್ತು ಪಾರಾಯಣ’ದಂಥ ಜೀವಂತ ಕೃತಿ ರಚನೆಗೆ ಕಾರಣವಾಯಿತು.ಹಲವಾರು ಪ್ರಸಿದ್ದ ವೇದಿಕೆಗಳಲ್ಲಿ ಕಾವ್ಯವಾಚನ ಮತ್ತು ಕವಿ ಗೊಟ್ಟಿಗಳ ತಲೆಮಣಿಯಾಗಿದ್ದಾರೆ.<br />೧.ಖನನೋದ್ಯಮ<br />೨.ದಿಂಡಿ ಮತ್ತು ದಾಂಡಿ<br />೩.ಅಧಿಕ ಮತ್ತು ತರಾನ (ಗಂಡ ಭೇರುಂಡ) ಇವರ ಕೆಲವು ಕವನ ಸಂಕಲನಗಳು.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-2840909402699386733?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-39455307409794534882010-11-09T23:05:00.000+05:302010-11-09T23:05:34.615+05:30ತೇಜಸ್ವಿಯವರ ಆತ್ಮಕಥೆಯ ಹಲವು ಅಧ್ಯಾಯಗಳು-ಅಣ್ಣನ ನೆನಪುಅಣ್ಣನ ನೆನಪು<br />ಪುಸ್ತಕ:ಅಣ್ಣನ ನೆನಪು <br />ಲೇಖಕ: ಪೂರ್ಣಚಂದ್ರ ತೇಜಸ್ವಿ <br />ಭಾಷೆ:ಕನ್ನಡ<br />ಅನುವಾದದ ವಿವರ:ಬೇರೆ ಭಾಷೆಗೆ ಅನುವಾದವಾಗಿಲ್ಲ<br />ಪ್ರಕಾಶಕರು:ಪುಸ್ತಕ ಪ್ರಕಾಶನ, ಮೈಸೂರು <br />ಮೊದಲನೆಯ ಮುದ್ರಣ:೧೯೯೬ <br />ಎರಡನೆಯ ಮುದ್ರಣ:೧೯೯೭<br />ಅಣ್ಣನ ನೆನಪು ಕೆ.ಪಿ.ಪೂರ್ಣಚಂದ್ರ ತೇಜಸ್ವಿಯವರ ಅರೆ ಆತ್ಮ ಕಥನದ ಧಾಟಿಯ ಪುಸ್ತಕ.ಮೊದಲು ಸಾಹಿತಿ ಪತ್ರಕರ್ತ ಪಿ. ಲಂಕೇಶ್ ನಡೆಸುತ್ತಿದ್ದ ’ಲಂಕೇಶ್ ಪತ್ರಿಕೆ’ಯಲ್ಲಿ ಧಾರಾವಾಹಿಯಾಗಿ ಪ್ರಕಟವಾಗಿ ಮುಂದೆ ಪುಸ್ತಕ ರೂಪದಲ್ಲಿ ಮುದ್ರಣವಾಯಿತು.<br />"ಅಣ್ಣನ ನೆನಪು ಕೃತಿ ಒಂದರ್ಥದಲ್ಲಿ ತೇಜಸ್ವಿಯವರು ಹುಟ್ಟಿದಲ್ಲಿನಿಂದ ಇಲ್ಲಿಯವರೆಗಿನ ಕುವೆಂಪುರವರ ಕಥೆ ಅಥವಾ ಅವರ ಜೀವನ ಚರಿತ್ರೆಯ ಹಲವು ಮಹತ್ವಪೂರ್ಣ ಅಧ್ಯಾಯಗಳು.ಹಾಗೆಯೆ ಇದನ್ನು ತೇಜಸ್ವಿಯವರ ಆತ್ಮಕಥೆಯ ಹಲವು ಅಧ್ಯಾಯಗಳೆಂದು ಪರಿಗಣಿಸಬಹುದು.ಕುವೆಂಪುರವರು ಕನ್ನಡ ಸಂಸ್ಕೃತಿ ಚರಿತ್ರೆಯಲ್ಲಿ ವಹಿಸಿರುವ ಮಹತ್ವಪೂರ್ಣ ಪಾತ್ರದಿಂದಾಗಿ ಇದು ಕನ್ನಡನಾಡಿನ ಸಂಸ್ಕೃತಿ ಚರಿತ್ರೆಯ ಬಹು ಮುಖ್ಯ ಅಧ್ಯಾಯಗಳು ಆಗಿವೆ.ಆದರೆ ಇದೆಲ್ಲವನ್ನು ಮರೆತು ನಾವು ಓದಿದರೆ ಇದೊಂದು ಅತಿ ಸುಂದರವಾದ ಕಾದಂಬರಿಯಂಥ ಕಲಾಕೃತಿ.ಇದರಲ್ಲಿ ಚಿತ್ರಿತವಾಗಿರುವ ಕುವೆಂಪುರವರ ವ್ಯಕ್ತಿತ್ವ,ಕನ್ನಡ ಸಾಹಿತ್ಯದಲ್ಲಿನ ಅನನ್ಯ ಮತ್ತು ಅಸಾಧಾರಣ ದಾಖಲೆ." ಈ ಮಾತುಗಳನ್ನು ಪ್ರಕಾಶಕರು ಹೇಳಿದ್ದಾರೆ.<br />ತೇಜಸ್ವಿಯರ ಮುನ್ನುಡಿ ಕೂಡ ಹಲವು ವಿಷಯಗಳ ಮೇಲೆ ಬೆಳಕು ಚೆಲ್ಲುವಂತಿದೆ.<br />"ನನ್ನ ಚಿಕ್ಕಂದಿನಿಂದಲೂ ನಾನು ಓದು ಮುಗಿಸುವವವರೆಗಿನ ನಮ್ಮ ತಂದೆಯ ನೆನಪುಗಳನ್ನು ನನ್ನ ದಿನಚರಿಯ ಮಾದರಿಯಲ್ಲಿ ಬರೆದಿದ್ದೇನೆ.ಅಣ್ಣನ ವೈವಿಧ್ಯಮಯ ವ್ಯಕ್ತಿತ್ವದಿಂದಾಗಿ ಈ ನೆನಪಿನ ಸರಣಿಯಲ್ಲಿ ರಾಜಕೀಯ ಮೀಮಾಂಸೆ, ತತ್ವಚಿಂತನೆ,ಕರ್ನಾಟಕ ಸಂಸ್ಕೃತಿ ಅವಲೋಕನ,ಸಾಹಿತ್ಯ ಮೀಮಾಂಸೆ,ಸಾಮಾಜಿಕ ಜಿಜ್ಞಾಸೆ,ಮುಂತಾದವೆಲ್ಲ ಮಿಳಿತಗೊಂಡಿವೆ.ಆದರೂ ನೆನಪುಗಳು ಸಂಕೀರ್ಣವಾಗದಂತೆ,ಜಟಿಲವಾಗದಂತೆ, ಸರಳವಾಗಿ,ಜೀವನದ ಸಹಜ ಲಯದಲ್ಲಿ ರೂಪಿಸಲು ಯತ್ನಿಸಿದ್ದೇನೆ ಇದನ್ನು ಬರೆಯುತ್ತ ಕುವೆಂಪುರವರೊಡನಿದ್ದ ಅನೇಕರು ತಮಗೆ ಗೊತ್ತಿದ್ದುದನ್ನೆಲ್ಲ ಕಾಗದ ಬರೆದು ನನಗೆ ಸ್ಪಷ್ಟಪಡಿಸಿದ್ದಾರೆ ಕೆಲವರು ಬಿದ್ದು ಬಿದ್ದು ನಕ್ಕು ಸ್ಫೂರ್ತಿ ನೀಡಿದ್ದಾರೆ.ಆ ಹಿರಿಕಿರಿಯರೆಲ್ಲರಿಗೂ ನನ್ನ ನಮಸ್ಕಾರಪೂರ್ವಕ ಕೃತಜ್ಞತೆಗಳು.ಇದನ್ನು ಬರೆಯುತ್ತಲೇ ಧಾರಾವಾಹಿಯಾಗಿ ಪ್ರಕಟಿಸಿದ ಗೆಳೆಯ ಲಂಕೇಶರಿಗೆ ನಾನು ಕೃತಜ್ಞ.ನನ್ನ ಬಳಿಯಿದ್ದ ಫೋಟೋಗಳ ಜೊತೆಗೆ ಅನೇಕರು ತಮ್ಮ ಬಳಿ ಇದ್ದ ಫೋಟೋಗಳನ್ನು ಒದಗಿಸಿ ತುಂಬಾ ಸಹಾಯ ಮಾಡಿದ್ದಾರೆ.ಅವೆಲ್ಲಾ ಕಲಬೆರಕೆಯಾಗಿ ಯಾರದ್ದು ಯಾವುದು ಎಂದು ತಿಳಿಯಲಾಗದೆ ಎಲ್ಲರಿಗೂ ಒಟ್ಟಾಗಿ ಕೃತಜ್ಞತೆ ಅರ್ಪಿಸಬೇಕಾಗಿದೆ.ಶ್ರೀ.ಜಿ.ಪಿ.ಬಸವರಾಜು,ಶ್ರೀ ನರೇಂದ್ರ ರೈದೇರ್ಲ,ಶ್ರೀ ಚೌಡಪ್ಪರೆಡ್ಡಿ,ಶ್ರೀ ಕೃಪಾಕರ ,ಶ್ರೀ ಸೇನಾನಿ,ಇವರೆಲ್ಲರಿಗೂ ನನ್ನ ಕೃತಜ್ಞತೆಗಳು. ಇದನ್ನು ಬರೆಯುತ್ತ ಪ್ರತಿ ಕಂತನ್ನೂ ಓದಿ, ತನ್ನ ಆರೋಗ್ಯವನ್ನೂ ನಿರ್ಲಕ್ಷಿಸಿ ನನ್ನೊಡನೆ ಮಾತಾಡಿ, ಬರೆಯಲು ಹುರಿದುಂಬಿಸಿದ ತಂಗಿ ಇಂದುಕಲಾಗೂ, ತಾರಿಣಿಗೂ ನನ್ನ ಕೃತಜ್ಞತೆಗಳು.ಎಲ್ಲಕ್ಕಿಂತ ಇದನ್ನು ಅಭೂತಪೂರ್ವವಾಗಿ ಮೆಚ್ಚಿದ ಕನ್ನಡಿಗರಿಗೆ ನನ್ನ ಕೃತಜ್ಞತೆಗಳು."ಇದು ಕೆ.ಪಿ.ಪೂರ್ಣಚಂದ್ರ ತೇಜಸ್ವಿಯವರ ಮುನ್ನುಡಿಯ ಮಾತುಗಳು.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-3945530740979453488?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-52396492655326083402010-11-09T22:56:00.002+05:302010-11-09T23:11:08.781+05:30ಉತ್ತಮ ಪುಸ್ತಕಗಳನ್ನು ಕೊಟ್ಟರೆ ಓದುಗರು ಒಪ್ಪಿಕೊಳ್ಳುತ್ತಾರೆಡಿ ವಿ ಕೆ ಮೂರ್ತಿ<br />"ಸರ್ಕಾರ ನಂಬಿಕೊಂಡು ಪ್ರಕಾಶನ ಸಂಸ್ಥೆ ನಡೆಸಬಾರದು. ನಾನು ಕಳೆದ ಐದು ದಶಕಗಳಿಂದ ಇದೇ ಮಾದರಿಯಲ್ಲಿ ಸಂಸ್ಥೆಯನ್ನು ನಡೆಸಿಕೊಂಡು ಬಂದಿದ್ದೇನೆ. ಸಾಮಾಜಿಕ ಬದ್ಧತೆ ಹಾಗೂ ಉತ್ತಮ ಗುಣಮಟ್ಟದ ಸಾಹಿತ್ಯವನ್ನು ಜನರಿಗೆ ಒದಗಿಸುವುದು ನನ್ನ ಗುರಿ. ಇದನ್ನು ಜನ ಕೂಡ ಸ್ವೀಕರಿಸಿದ್ದಾರೆ. ಹೀಗಾಗಿ ನಾನು ಯಾವತ್ತೂ ಸರ್ಕಾರದ ಸಗಟು ಖರೀದಿಗೆ ಪುಸ್ತಕಗಳನ್ನು ಕಳುಹಿಸಿದವನಲ್ಲ.<br />ಪ್ರಕಾಶಕರು ವಾಸ್ತವಿಕತೆ, ಮಹತ್ವ ಅರಿತು ಪುಸ್ತಕಗಳನ್ನು ಪ್ರಕಟಿಸಬೇಕು. ಉತ್ತಮ ಗುಣಮಟ್ಟದ ಸಾಹಿತ್ಯ ತೀರಾ ಅವಶ್ಯಕ. ಪ್ರಕಾಶನ ಸಂಸ್ಥೆಯನ್ನು ನಾನು ಯಾವತ್ತೂ ವ್ಯವಹಾರಿಕವಾಗಿ ನೋಡಿದವನಲ್ಲ. ಲಾಭ ಗಳಿಸಲೇಬೇಕು ಎಂದರೆ ಬೇರೆ ಯಾವುದಾದರೂ ವ್ಯಾಪಾರ ಮಾಡಬಹುದು. ಸಾಮಾಜಿಕ ಬದ್ಧತೆಯಿಂದಲೇ ನಾನು ಅನುಪಮ ನಿರಂಜನ ಅವರ ‘ದಾಂಪತ್ಯ ದೀಪಿಕೆ’, ‘ತಾಯಿ-ಮಗು’ ಮೊದಲಾದ ಪುಸ್ತಕಗಳನ್ನು ಪ್ರಕಟಿಸಿದೆ. ವೈಚಾರಿಕ ದೃಷ್ಟಿಕೋನಕ್ಕಾಗಿ ಎ. ಎನ್. ಮೂರ್ತಿರಾವ್ ಅವರ ‘ದೇವರು’ ಕೃತಿ ಪ್ರಕಟಿಸಿದೆ. ‘ದೇವರು’ ಕೃತಿ ಈಗ 10ನೇ ಮುದ್ರಣ ಕಾಣುತ್ತಿದೆ. ತ್ರಿವೇಣಿ, ವಾಣಿ, ನಿರಂಜನ, ಅನಕೃ, ತರಾಸು ಮೊದಲಾದವರ ಪುಸ್ತಕಗಳನ್ನು ಪ್ರಕಟಿಸಿದ್ದು, ಜನಮನ್ನಣೆ ಪಡೆದಿವೆ. ಉತ್ತಮ ಪುಸ್ತಕಗಳನ್ನು ಕೊಟ್ಟರೆ ಓದುಗರು ಒಪ್ಪಿಕೊಳ್ಳುತ್ತಾರೆ.<br />ಸರ್ಕಾರ ಪುಸ್ತಕಗಳ ಸಗಟು ಖರೀದಿಯಲ್ಲಿ ಆ ವರ್ಷ ಪ್ರಕಟಿಸಿದ್ದು, ಈ ವರ್ಷ ಪ್ರಕಟಿಸಿದ್ದು ಎಂದು ನೋಡಬಾರದು. ಗುಣಮಟ್ಟದ ಕಡೆಗೆ ಗಮನ ನೀಡಬೇಕು. ಪುಸ್ತಕ ಖರೀದಿಯಲ್ಲಿ ಭ್ರಷ್ಟಾಚಾರ ನಡೆಸಬಾರದು. ಭ್ರಷ್ಟಾಚಾರ ಇದ್ದಲ್ಲಿ ಕಳಪೆ ಪುಸ್ತಕಗಳೆಲ್ಲಾ ಬರುತ್ತವೆ. ಕನ್ನಡ ಪುಸ್ತಕ ಪ್ರಾಧಿಕಾರ, ಸರ್ಕಾರ ಅಥವಾ ಕನ್ನಡ ಸಾಹಿತ್ಯ ಪರಿಷತ್ ಯಾರೇ ಆಗಿರಲಿ ಗುಣಮಟ್ಟದ ಸಾಹಿತ್ಯಕ್ಕೆ ಮನ್ನಣೆ ನೀಡಬೇಕು. ಜನರಿಗೆ ಬೇಕಾದ ಪುಸ್ತಕಗಳನ್ನು ನೀಡಿದರೆ ಭವಿಷ್ಯ ಇದ್ದೆ ಇರುತ್ತದೆ."<br /><br />ಪುಸ್ತಕ ಬ್ರಹ್ಮ<br />ದೆಹಲಿ ಕನ್ನಡಿಗ ಏರ್ಪಡಿಸಿದ್ದ ೧೦ನೆಯ ಸಮ್ಮೇಳನದಲ್ಲಿ ’ಶ್ರೇಷ್ಥ ಪ್ರಕಾಶಕ’ ಸನ್ಮಾನ.<br />ಆಧಾರ:<br />೧. ಡಿ ವಿ ಕೆ ಮೂರ್ತಿ-ಪುಸ್ತಕ ಲೋಕದ ಅನನ್ಯರು ಮಾಲಿಕೆ,ಅಭಿನವ ಪ್ರಕಾಶನ, ಬೆಂಗಳೂರು<br />೨. ೦೫-೦೨-೨೦೦೨ರಂದು ಕನ್ನಡಪ್ರಭ ಪತ್ರಿಕೆಗೆ ನೀಡಿದ ಸಂದರ್ಶನ<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-5239649265532608340?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-75370811189231321752010-07-19T11:39:00.004+05:302010-07-19T11:48:50.143+05:30ಎಲೆಕ್ಟ್ರಾನಿಕ್ ರೂಪದಲ್ಲಿ ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿIt is really a very good initiative.Here is a recent example.I congratulate all those who are involved in this project.<br />Classics never die.Kumaravyasa mahabharatha has come all the way from manuscripts to print media to all India radio to Television to folk forms to electronic media.Thats why I say <em>classics will never die.</em><br /><br /><strong>ಶ್ರೀವನಿತೆಯರಸನೆ ವಿಮಲ ರಾ<br />ಜೀವ ಪೀಠನ ಪಿತನೆ ಜಗಕತಿ<br />ಪಾವನನೆ ಸನಕಾದಿ ಸಜ್ಜನನಿಕರ ದಾತಾರ<br />ರಾವಾಣಾಸುರ ಮಥನ ಶ್ರವಣ ಸು<br />ಧಾ ವಿನೂತನ ಕಥನ ಕಾರಣ<br />ಕಾವುದಾನತ ಜನವ ಗದುಗಿನ ವೀರನಾರಯಣ </strong><br />ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ <br />ಗದುಗಿನ ನಾರಣಪ್ಪ (ಕುಮಾರವ್ಯಾಸ)ನ ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿಯನ್ನು <strong>ಎಲೆಕ್ಟ್ರಾನಿಕ್ ರೂಪದಲ್ಲಿ </strong>ಪ್ರಸ್ತುತಪಡಿಸುವುದು ಈ ಬ್ಲಾಗಿನ ಉದ್ದೇಶ. ಈ ಪ್ರಯತ್ನದಲ್ಲಿ ನೀವೂ ಕೈಗೂಡಿಸಬಹುದು. ವಿವರಗಳಿಗೆ ಪೀಠಿಕೆ ನೋಡಿ. ಓದುಗರಿಗೆ ಸೂಚನೆ: ಕೃತಿಯ ವಿವಿಧ ಭಾಗಗಳನ್ನು ವಿವಿಧ ಲೇಖಕರು ಬೇರೆಬೇರೆ ಸಮಯದಲ್ಲಿ ಪ್ರಕಟಿಸುವುದರಿಂದ, ಸಧ್ಯಕ್ಕೆ ಇಡೀ ಕೃತಿ ಅನುಕ್ರಮದಲ್ಲಿ ಲಭ್ಯವಿರುವುದಿಲ್ಲ. ಆದರೆ ಶೀರ್ಷಿಕೆಗಳನ್ನು ಕ್ರಮವಾಗಿ ಅನುಗೊಳಿಸಲಾಗಿದೆ. ಓದುಗರು ತಮಗೆ ಬೇಕಾದ ಪರ್ವವೊಂದನ್ನು ಕ್ಲಿಕ್ಕಿಸಿದರೆ ಅದರಡಿಯಲ್ಲಿ ಪ್ರಕಟಿಸಿರುವ ಎಲ್ಲಾ ಸಂಧಿಗಳನ್ನು ಕ್ರಮವಾಗಿ ಓದಿಕೊಳ್ಳಬಹುದು. http://gaduginabharata.blogspot.com/<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-7537081118923132175?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-58375172668560881692010-02-11T13:52:00.005+05:302010-02-11T14:10:55.608+05:30Hindu unity & socially deprived people(<em>Dattatreya Hosabale is a person whom i have seen since my college days.Hardly when I was 17 years old, I have heard his speeches on Hinduism,Ayodhya movement etc.,He has many good qualities both as a man from RSS and also as a human being.He replies to all mails and letters sent to him.It is said about Homer that he was born in seven cities.Though Dattaji was born in Hosabale village of Soraba taluk in Shimoga district of todays Karnataka,he has travelled across the country.Travel and reading has made him both broadminded and open to changes.<br /><br />Born on December 1, 1955 in Shimoga district of Karnataka, Shri Hosabale is Post Graduate in English literature. He became a Sangh Swayamsevak in 1968 and joined the ABVP in 1972.<br /><br />Later he became full-time organiser of ABVP in 1978 and starting from Bangalore Nagar Sampark Pramukh in 1972 he held different responsibilities in the largest student organisation in the country. He played an active role in setting up the Youth Development Centre in Guwahati.<br /><br />He also played an active role in making the ABVP work effective in Andaman Nicobar Islands and North-Eastern states of the country. Shri Hosabale had actively participated in the J. P. movement of 1974 and was jailed under MISA from December 1975 to February 1977.<br /><br />He has visited Nepal, Russia, England, France and the United States of America. Multi linguist Shri Hosabale has good command over Kannada, Hindi, English, Tamil and Sanskrit. He was also founder editor of the popular Kannada monthly Aseema.<br /><br />He is a man from RSS-a hindu nationalist organization.Here is an exceprt from the report of his speech on present condition of Hindu dalits-Dr.Harisha G.B.) </em><br /><br /> Dattatreya Hosabale said the socially deprived people should get their due share. He was speaking at a seminar organised by Rashtrawadi Ambedkarwadi Mahasangh in New Delhi on November 26. Shri Hosabale said the socially deprived people are not getting the respect that they should have got after six decades of Independence. "Many efforts were made during the Mughal and British period to disturb the Hindu unity and wrong history was written to create a divide among Hindus. Even today there are efforts by church and other forces to weaken the Hindu society. The demands of reservation to Dalit Christians and Muslims have emerged only from those forces, which aimed at breaking the Hindu society. He admitted that there are weaknesses on the part of the Hindu society that should be rectified without delay.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-5837517266856088169?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-84593818840275805782010-02-08T00:25:00.000+05:302010-02-08T00:39:18.532+05:30Ananda K. Coomaraswamy :his essential writingsAnanda K. Coomaraswamy's works nees to be studied in comparision with the essential writings of Prof Hiriyanna and Sri Aurobindo.Alas!our university professors do not know much about these giants of aesthetics.If our univesrsity education in the areas of art history, literary concepts and philosphy want to become more native in approach, then Ananda K. Coomaraswamy should be studied in depth.I do not know whether that day will come from 7.02.2010 to 31.12.2099?<br />The article below is from The Essential Ananda K. Coomaraswamy<br />by Arvind Sharma-Dr.Harisha G.B.) <br />The name of Ananda K. Coomaraswamy has become synonymous<br />with an entire approach to art and of the civilization of which<br />it is an expression. Coomaraswamy’s genius lay not only in presenting<br />it to the modern Western world but also in demonstrating that<br />this civilizational art and artistic civilization was contrapuntal and<br />not necessarily antithetical to the modern West, as ears less gifted<br />than his to hearing celestial harmonies might have proposed. His<br />multi-splendored genius expressed itself in over a thousand published<br />items. One might say that Coomaraswamy wrote more than<br />many people read in the course of one life.<br /><br />The publication of his seminal contributions in the form of the<br />compendium of his essential writings that you hold in your hands is<br />therefore to be greatly welcomed. It conveys to us the flavor of his<br />thought, as water collected in a small shell on the shore conveys the<br />flavor of the entire ocean. Of course it cannot convey a sense of the<br />ocean’s magnitude, but it earns our gratitude in conveying a sense<br />of its taste; of how the divine dialectic of the transformation of religion<br />into art and art into religion might hold the key to the rejuvenation<br />of both life and art in the modern world.<br /><br />Our contemporary world is trying to rejuvenate itself not<br />through God but through religion, thereby creating for itself the<br />problem of fundamentalism, an outcome which would not have surprised<br />Coomaraswamy, who insisted that the modern world must<br />rejuvenate itself through God rather than religion, and bring its<br />wasteland to life by irrigating it with the waters of Tradition. This<br />Tradition offers perennial answers to contemporary questions<br />whereas modernity has only been able, if at all, to offer contemporary<br />(and fugitive) answers to perennial questions. It is not merely<br />an accident then that while that great work of the Enlightenment,<br />Voltaire’s Candide, ends with Dr. Pangloss cultivating his garden living<br />in the best of all possible worlds, Coomaraswamy, when he<br />sensed that his life was about to run its course, chose to leave his<br />body in the manner of a Hindu renunciate, also in a garden, symxi<br />From the World Wisdom online library:<br />www.worldwisdom.com/public/library/default.aspx<br />bolizing the fact that he brought to us from all possible worlds the<br />spiritual fragrance of humanity, fresh from the exquisite gardens of<br />its various religions. And they are various. For none of the great<br />expositors of the perennial philosophy—not Coomaraswamy in any<br />case—made the mistake, to which some are prone, of imagining<br />that just because all the religions say more or less the same thing<br />that they are therefore all the same. Thus Coomaraswamy has rightly<br />been hailed as a bridge-builder at a time when the West was acting<br />like a steamroller in the rest of the world.<br />All the reader need do to verify what I have said, lest he or she<br />be inclined to consider the thoughts and emotions I have just<br />shared as too encomiastic or enthusiastic, is to read this book.<br />-Arvind Sharma<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-8459381884027580578?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-54427308080539131812010-02-07T23:36:00.006+05:302010-02-08T00:24:43.965+05:30TENDENCIES IN KANNADA LITERATURE(This article was written by B M Sreekantiah.He was a renaisance man of Kannada language and literature in the begining of 20th century.This wrtings provides sufficient background of development that took place in the kannada state till 1927This article first appeared in the 'Mysore University Magazine'in 1927.<br />Interestengly many names mentioned here didnot hold a place in the pages of modern Kannada literary history published from many universities.Hence to read and understand the contributions of less known writers of Kannada, this article is a good start.It is also important to note that he mentions the name of Nanjanagudu Tirumalamba, who is a woman writer.-Dr.G.B.Harisha)<br />Like every other <strong>vernacular,</strong> Kannada also is halting between two influence, the traditional and the modern, though the modern is, on the whole, triumphing.Considering the smallness of the Kannada—speaking public, it must be admitted that there is great enthusiasm for the development of the language and its literature. Few names of outstanding merit have emerged within the last year or two, but the older writers are steadily adding to their output and a good harvest has already been gathered. The most encouraging sign in recent years has been the gracious patronage extended by His Highness the Maharaja, who has not only instituted anannual verse competition and awarded prizes to the winners in a special Durbar, but has set the healthy example of making speeches in Kannada on public occasions.<br />The University and the schools are throbbing with the new spirit, and inter-collegiate debates, school magazines and essays, lyrics and biographies from student-authors bear ample testimony to the increased interest in letters at the fountain-heads of culture. A fresh impetus will be given to the study of vernacular by the recent decision of the Senate to make <strong>Kannada compulsory (Mohammadans </strong>being allowed Urdu) in<br />the Intermediate and B. A. courses and to institute <strong>a chair of Kannada culture </strong>in the<br />University. The University and the education department also subsidise original work<br />on modern subjects and translations of Western classics, likely to appeal to or<br />educate the masses. Higher journalism represented by magazines like the Karnataka<br />Sahitya Parishat Patrike, Prabuddha Karnataka. Visvakarnataka, Jayakarnataka,<br />Suvasini, Makkala Pustaka carries the new out look on life to the half-educated adults and women and children at home. The atmosphere is thus saturated with ideas and the times are big with expectation.<br />We may proceed to note the actual work in some of the departments of<br />literature. The work of editing the old classics and the <strong>study of philology </strong>are going on without a break. The Karnataka Sahitya Parishat has edited <strong>Kesiraja’s</strong> <strong>Sabdamanidarpana,</strong> a grammar of the 13th century A. D. Pampa Ramayana, a jaina variant of the famous Indian epic, of the 11th century, and is now half through an edition of the Pampa Bharata, the oldest extant kavya in Kannada, of 941 A.D. dealing succinctly with the story of the Mahabharata. It is interesting to note that the learned and <strong>tireless editor</strong>, Mr. <strong>B. Venkatanaranappa</strong>, got a manuscript of the work from a<br />Jaina library at Arrah near Patna, which has thrown light in a number of corrupt<br />readings and filled up most distressing gaps. The <strong>Jaina Yuvaka Sangha of Puttur</strong>(South Canara) has brought out a sumptuous edition of Bharatesa Vaibhava, a medieval work on the first Chakravarthi of the Jainas. Mr. U. Mangesha Rao, the editor has laid the whole Karnataka country under obligation by this splendid piece of critical work. On the Dharwar side, the <strong>Vachana Sastra Sara </strong>of Rao Bahadur <strong>Mr.P.G.Halakatti</strong>, is a valuable selection of the voluminous sayings and preachings of the Virasaiva apostles and saints of the 12th century and latter periods; while Mr.Uttangi’s edition of <strong>Sarvajna Padagalu</strong> gives the largest extant collection of the<br />epigrams of one of the most popular and quotable of Kannada writers.<br /><strong>History of literature</strong> has been marked out for his own by Rao Bahadur<br />R.Narasimhachar, the veteran scholar and archaelogist who has revised and reprinted<br />his Kavicharite, Vol.I, and after a subsequent Vol. II, has now nearly finished his Vol.III, bringing down the account of Kannada literature to the present day. It is a<br />monumental work and will be the basis of all future investigation on the subject. The<br />University is publishing a hand book of Kannada in five parts: Grammar, Prosody,<br />Rhetoric, History of language and History of literature. It is intended for students and general readers and tries to give an authoritative and brief summary of up-to-date learning and research on the subjects dealt with.<br />In the field of Poetry, in addition to work in the old manner, a few writers may be<br />mentioned as representative of the new culture and method. Rajakavi Bhushana H.<br />Linga Raj Urs, whose Ramayana had captured the public by its easy style and<br />modern feeling, has now added to his laurels by his Yadu Nripa Vijaya, a short epic on the founding of the ruling house of Mysore by Yadu Raya in the 15th century. Mr. D. V.Gundappa, editor and publicist, has in his <strong>Vasanta Kusumanjali </strong>and <strong>Nivedana</strong>, given splendid expression to the devotional and national spirit, and hung wreaths round thenoble makers of modern India, and for the first time brought into poetry beauties of Mysore, like the <em>Gerusoppe</em> and the <em>Shivanasamudram Falls </em>and the <em>Hoysala</em><br /><em>temples.</em> <strong>Mr. M. Venkatesha Iyengar </strong>has a most versatile genius and starting a new vein with his short stories (Kelavu Sanna Kathegalu) has advanced to plays (Savitri,Santa), touching old heroic themes with a new imagination and fervour, and to slender volumes of poetry, Binnaha and Aruna, of rare charm of phrase and feeling. The University has contributed its share in <strong>English geetagalu</strong>, by “Shri”, a book of translations of English lyrics, aiming at familiarising the Kannada reader with the spirit and style of Western literature. There is many a fine lyric warbled on the Mangalore sea-board by writers like <strong>Mr. P.Mangesha Rao </strong>and <strong>Mr. U. Mangesha </strong><strong>Rao</strong>. All these departures from mechanical versifying are by English-educated men, who are experimenting in style, metre and subject and are moulded by the blended culture of East and the West.<br />Kavitilaka Ayya Sastry’s <strong>poetical history of the Mysore Kings </strong>should also be noted in this connection, as modern work done by a poet of the old school. Thoughwritten in old Kannada, this fine chronicle is easily intelligible and breathes the sprit of loyalty and devotion to the country’s progress.As regards drama, the theatre has suffered an irreparable loss in the recent<br />death of <strong>Nataka Siromani Mr. Varadachar</strong>, the gifted actor, who was not contentmerely to stick to the old plays but encouraged the modern social play. (A similar loss to the musical world was the death of the late lamented Vainika Sikhamani Mr.Seshanna). Plays by Mr. Venkatesa Iyengar have been mentioned.<strong> Mr. T.P</strong>.<strong>Kailasam’s</strong> Tollu Gatti and Ammavra Ganda are in colloquial dialect and ridicule the foibles and the fashions of the day. Pandit Sitarama Sastry’s version of Bhasa’s Pratima Nataka, <strong>Pandit Bellave Narahari </strong><strong>Sastry’s </strong>Kabir Das, <strong>Pandit Nanjanagud Srikanta Sastry</strong>,s plays, Mr. Benegal Rama Rao’s Prahasanas, and plays like Mira Bai and Vigada Vikrama Raya displays the mingling of the old classical piety play with the new historical, national and social problem play. In this connection must be noted Mr.D. V. Gundappa’s play on Vidyaranya and Mr. Vankatesha Iyengar’s on The Battle of Talikote. A lady writer <strong>Srimati Tirumalamba</strong>, has been writing a sort of play-novelsermon type of books which are greatly appreciated.<br />The novel has at last succeded in freeing itself from the grip of Bankim Chander<br />Chatterji, who had been naturalised in Mysore by late Mr. Venkatachar. For years,<br />every tyro echoed Mr. Venkatachar-the very trick of his speech and plot. Then, there<br />was a social reform novel of Viresalingam Pantulu and its following. Mr. M.S.<br />Puttanna’s Madiddunno Maharaya broke the spell with the realistic domestic novel,<br />based on life in Mysore and rendered in very homely style. He has since followed it up with his Musuku Tegeye Mayangane (still in manuscript). Mr. Venkatesa Iyengar’s fine work in short stories has already been noted and has been honoured by a new school of imitators. <strong>Mr. V. T. Kulakarni (Galaganth)</strong> has been reviving ancient life and glory in his historical novels, the latest of which Madhava Karuna Vilasa, keeps to the high level of the rest and is inspired by the vision of a united Indian people, free from the jealousies of caste and creed and spending themselves in sacrifice for the Motherland. An inspiring and beautifully written account of the <strong>Kannada Kingdoms </strong>is given in Mr. R. H. Deshponde’s Karnataka Samrajya. Biography is represented by Mr.Singraiaha’s Life of Chamarajendra of Mysore and of Gokhale and Vidyaranya, andthe “grand old man”, Mr. Venkatakrishaniah’s Booker T. Washington, The aged andveteran scholar-patriot Mr. C. Vasudevaiya has after a long silence since his <strong>Aryakirthi</strong><br />and <strong>Sivaji</strong> again spoken out in his <strong>Bhishma Charite</strong>. His eloquent and rhythmical periods are the delight of every scholar.<br />Criticism and civics are still to be cultivated, but a good beginning has been<br />made in Mr. Ramanuja Iyengar’ s Kavi Samaya, Mr. Venkatesha Iyengar’s Vimarse<br />and Mr. D.V. Gundappa’s Rajya Vyavahara Sastra.<br />Among noteworthy translations should be mentioned the Kannada version of <strong>Tulsidas</strong>’s immortal Ramayana by Mr. <strong>D. K. Bharadwaj</strong>. Mr. <strong>V. B. Alur’s </strong>translation of <strong>Tilak’s Gita </strong><strong>Rahasya</strong> is older, but is an invaluable addition to serious literature in Kannada.<br />It will be clear from this short review that <em>Kannada literature is shaking itself free from the domination of old ideas and forms and is blossoming vigorously in the hands of a young, educated and patriotic band of writers, novelists, poets and publicists; and,passing the stage of imitation and translation, is striking out in all directions,responding to inspirations local as well as all-Indian, present as well as past</em>. There is an outburst of activity that is full of promise for the future and gladdening to the heart of every lover of Kannada.<br />[<em>Mysore University Magazine, Vol. XI, July 1927</em>]<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-5442730808053913181?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com2tag:blogger.com,1999:blog-29490257.post-63155213365694934002010-02-07T21:34:00.008+05:302010-02-07T21:49:45.941+05:30Marginalized Kannada writers series: article1 - M. Jeevana<strong>M Jeevana</strong><br /><br />I was reading few old books last year.I found the name of an author on an old book.It was M.Jeevana.<br /><br />I asked my friends in Bengalooru(earlier Bangalore).To my surprise many good writes never heard this name.he has written books on <strong>poetry(vachana) of basavanna</strong>(basaveshwara).He has also translated <strong>Banabhatta's KADAMBARI </strong>epic in to modern Kannada.<br /><br />Finally when I was reading with Prof.Keeram Nagaraj he said that he has read his books.By reading his books I am feeling..I don't know why...that Jeevana is pseudonym.He might be a Muslim by birth and to avoid his identity he might have used this pen name.I am getting more curious to expolore more about Kannada writer Jeevana.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-6315521336569493400?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-5560299310626183532010-02-07T21:13:00.004+05:302010-02-07T21:32:58.902+05:30B M Sree speech:100 yearsB M Sreekantiah was one of the makers of Kannada literature in 20th century.His speech 'kannadada maatu tale ettuva bage' was done in 1911 dec at Dharavada.Here he has given pointers to elevate and develop kannada langugae in the context of Sanskrit and English.<br />If we look back this is a historical event as for as karnataka is considered.Apart from this his speech has many negative points if we look at from historical point of view.<br />B M Sreekantiah like other thinkers of the day accepted the aryan thoery of invasion.(AIT).During his days, Swami vivekananda, Dr.Sampoornananda did not accept the AIT.Few years Dr.B.R.Ambedkar opposed the AIT in his writings.<br /><br />He is a good writer, not a great creative writer like T.S.Eliot,Tolstoy or Shankar Mokashi Punekar.But his writing, cultural moves he made needs to be studied from nationalist perception.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-556029931062618353?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-77001978237433913902009-01-21T12:08:00.005+05:302009-01-21T12:17:30.169+05:30Do you know who loves you?One day Maths<br />Teacher asked her students to list the names of the other students in<br />the room on two sheets of paper, leaving a space between each name.<br /><br /><br />Then she told them to think of the nicest thing they could say about<br />each of their classmates and write it down.<br /><br /><br />It took the remainder of the class period to finish their assignment,<br />and as the students left the room, each one handed in the papers.<br /><br />That Saturday, the teacher wrote down the name of each student on a<br />separate sheet of paper, and listed what everyone else had said about<br />that individual.<br /><br /><br />On Monday she gave each student his or her list. Before long, the<br />entire class was smiling. "Really?" she heard whispered. "I never knew<br />that I meant anything to anyone!" and, "I didn't know others liked me<br />so much," were most of the comments.<br /><br /><br />No one ever mentioned those papers in class again. She never knew if<br />they discussed them after class or with their parents, but it didn't<br />matter. The exercise had accomplished its purpose. The students were<br />happy with themselves and one another. That group of students moved<br />on.<br /><br /><br />Several years later, one oaf the students was killed in<br /><br />"Kargil" war<br />and his teacher attended the funeral of that special student. She had<br />never attended Funeral of a serviceman before. He looked so handsome,<br />so mature.<br /><br />The place<br />was packed with his friends. One by one those who loved him took a<br />last walk. The teacher was the last one to bless .<br /><br /><br />As she stood there, one of the soldiers who acted as pallbearer came<br />up to her. "Were you Sanjay's math teacher?" he asked. She nodded:<br />"yes." Then he said: "Sanjay talked about you a lot."<br /><br />After the funeral, most of Sanjay's former classmates were there.<br />Sanjay's mother and father were there, obviously waiting to speak with<br />his teacher.<br /><br /><br /><br />"We want to show you something," his father said, taking a wallet out<br />of his pocket "They found this on Sanjay when he was killed. We<br />thought you might recognize it."<br /><br /><br /><br /><br /><br />Opening the billfold, he carefully removed two worn pieces of notebook<br />paper that had obviously been taped, folded and refolded many times.<br />The teacher knew without looking that the papers were the ones on<br />which she had listed all the good things each of Sanjay's classmates<br />had said about him.<br /><br /><br /><br />"Thank you so much for doing that," Sanjay's mother said. "As you can<br />see, Sanjay treasured it."<br />All of Sanjay's former classmates started to gather around. Arjun<br />smiled rather sheepishly and said, "I still have my list. It's in the<br />top drawer of my desk at home."<br /><br /><br /><br />Prithwiraj's wife said, " Prithwiraj asked me to put his in our wedding album."<br /><br /><br /><br />"I have mine too," Rashmi said. "It's in my diary"<br /><br /><br />Then Deepali, another classmate, reached into her pocketbook, took out<br />her wallet and showed her worn and frazzled list to the group. "I<br />carry this with me at all times," Deepali said and without batting an<br />eyelash, she continued: "I think we all saved our lists"<br /><br />That's when the teacher finally sat down and cried. She cried for<br />Sanjay and for all his friends who would never see him again.<br /><br /><br />The density of people in society is so thick that we forget that life<br />will end one day. And we don't know when that one day will be.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-7700197823743391390?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-83607113265064449272009-01-12T13:57:00.008+05:302009-01-12T14:32:54.981+05:30Mahatma Gandhi on Conversion<a href="http://3.bp.blogspot.com/_hy0UEKyfO54/SWsHIdIg9hI/AAAAAAAAABA/s9pej7EaTbM/s1600-h/indian-hero-mahatma-gandhi.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 266px; height: 320px;" src="http://3.bp.blogspot.com/_hy0UEKyfO54/SWsHIdIg9hI/AAAAAAAAABA/s9pej7EaTbM/s320/indian-hero-mahatma-gandhi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5290330029117470226" /></a><br />M K Gandhi was not a preaching Hindu as we found lot of them around us now.He was a practicing Hindu,who practiced the principles of Sanatana Dharma.He considered Bhagavad Geeta as mother.<br /><br /><br /><br />In Karnataka we have a situation where more and more non practicing yet Hindus have taken the position of intellectual leadership.And they are opposing others/christians to stop converting Hindus.Upsurge of Hindu wave should not demean the great works of M K Gandhiji.He is stilla hero to millions of people of across the world.Hatred towadrs M.K.Gandhi is not a solution to conversion.<br /><br />The great work of his -Hind Swaraj celebrated its 100th year but the event didnot become the centre of discussions neither in the electronic media nor in the print media.<br />Let us believe in God and our capability and work on the lines of great rishis like M.K.Gandhiji, Ananda Coomara Swamy and Sri Aurobindo.<br /><br /><strong>"Tons of theory is not equal to an ounce of experience" -Swami Vivekanada</strong><br />Here is an excerpt from Harijan news paper ran by Gandhiji which spaeks clearly on his concept of conversion.<br /><em>Why should a Christian want to convert a Hindu to Christianity and vice versa?Why should he not be satisfied if the Hindu is a good or godly man?If the morals of a man are a matter of no concern,the form of worship in particular manner in a church, a mosque or a temple is an empty formula;it may even be a hindrance to individual or social growth, and insistence on a particular form or repetition of a credo may be a potent cause of violent quarrels of a credo may be a potent cause of violent quarrels leading to bloodshed and ending utter disbelief in Religion,i.e. God Himself.<br /><br />Harijan, 30 – I - 1937</em><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-8360711326506444927?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-11079048581223207172009-01-12T12:09:00.006+05:302009-01-12T12:18:18.991+05:30IT encyclopedia from Kannada speaking public to English speaking worldI received an interesting bit of mail from a team who are working on building a IT vishcvakosha.<br /><br />If you are working in any branch of IT please do share your valauable input.Here is a mail that I received from IT encyclopedia team.<br /><br /><em><em>Namaskara.<br />Please go through the attachments (request.doc/request.pdf) positively. Other<br />documents are for your reference and use. I have no other words to request you<br />to send artcles for IT encyclopedia at the earliest. In the extreme case please<br />send the English version.<br /><br />Please send an e-mail to itvgroup-subscribe@yahoogroups.com and become a<br />member of this group. The group contains all informaton about the IT subject<br />encyclopedia, English-Kannada dictionary related to IT etc. You can download and<br />use the same.<br /><br />I am eagerly waiting for the articles from you and your friends. <br />Expecting your article,<br />Thanking you<br />Yours <br />C V Srinatha Sastry</em></em><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-1107904858122320717?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com1tag:blogger.com,1999:blog-29490257.post-47243901810102598622008-01-26T23:39:00.000+05:302008-01-27T01:14:21.032+05:30Mahatma Gandhi and Cheeni KamToday is Jan 26th and India is celebrating the Republic day.<br /><br />I was watching TV and noticed an interesting thing about the phenomenon of Mahatama Gandhi.<br /><br />Let us take two scenario:<br />Scene 1:DD1<br />Movie:Gandhi<br /><br />This was all about his come back to India and how became a leader of the masses.<br /><br />Scene 2:SONY MAX<br />Movie: Cheeni Kam<br /><br />Paresh Rawal who has acted as father of Tabu, the heroine , imitates the principles of Gandhi for wrong reasons.He likes cricket, eats meat and chicken and still a Gandhian.He don't want his daughter to marry the 64 year old Amitabh.So he goes on a fasting.<br /><br />The acting of Paresh is superb as it truly represents the bunch of imitators of Gandhiji.<br /><br />For me it was a nice contradiction of real Gandhi in DD1 and his imitators in post independence India , in Sony Max.<br /><br />One can see both the idealism of Gandhi and imitation of his ideology on the chota screen.Whereas in reality one can show only the imitation of Gandhi on national holidays, school days and fancy dress competitions.<br /><br />Mera Bharath Mahan!<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-4724390181010259862?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-87334092988129721402008-01-01T01:44:00.000+05:302008-01-27T01:26:10.920+05:30Chi.Sreenivasa Raju:Silent yet dynamic Kannada cultural iconChi.Sreenivasa Raju made a house hold name among thousands of book lovers, poets and young students of Karnataka through his passion for Kannada language.<br /><br /> He is a symbol for thousands of young students who will come from villages to cities like Bangalore. Therefore he became more and more silent and observed life around, developed an ever lasting passion for Kannada and Karnataka. He silently participated in all the social and literary movements of 70's and 80's. <br /><br />He wrote less and less and made others to write more and more. And when he wrote plays they were silent plays. This symbolizes his personality and attitude towards life.<br /><br />He never believed in words and made all efforts to bring young blood into Kannada literary world. He was known for his capacity to attract new literary talents.<br /><br />Today's new generation poets like H.S.Shivaprakash,Pratibhanandakumar,writers like Abdul Rasheed,Rahamat Tarikere, Amaresha Nugudoni and little magazine journalists like D.V.Prahlad and N.Ravikumar are products of his school of thought.He also created an opportunity for young writers of Karnataka to meet and exchange their writings.<br /><br /> He knew the art of winning the hearts of young writers by his simplicity and cool style. It speaks a lot of him if we know that he was able to publish more than 180 books in his tenure in Christ College!<br /><br /> Imagine a lecturer who took interest in encouraging more than 100 writers across 30 years with same passion and devotion to Kannada.Remember, like all heads of departments he had his regular classes, examination, time tables and paper valuation. He had a family too with two kids and beloved wife.His life seems very normal if looked from day today perspective, but if you consider those 30 years it is really a long period. His achievements are seemingly simple.<br /><br />He was inspired by G.P.Rajaratnam and A.Na.Krishnarao.<br /><br />He believed that this body comes from nature and goes to nature.And according to his own style he donated his body for the use of medical research to M.S.Ramaiah Medical Collage.<br /><br /> <br />Labels: Chi.Sreenivasa Raju of Kannada Sangha, Christ College<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-8733409298812972140?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-82556273335637300542007-12-31T23:50:00.000+05:302007-12-31T23:53:43.700+05:30Wish you a happy new year:2008As the sweet memories of Christmas is yet in my mind, and the sorrow of loosing one of my beloved human being-Prof.Chi.Sreenivasa Raju is still bleeds, wish you all my blog readers a happy and powerful new year:2008!!<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-8255627333563730054?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-1154356264468275552006-07-31T19:43:00.000+05:302006-08-02T21:34:16.653+05:30An interesting book by Bankim babuI recently came across a rare English book. Name of the original book in Bengali is 'Anusilan.'In English it is translated as' Essentials of Dharma' by Manomohan Ghosh.<br /><br />It is written originally in Bengali and the author is none other than Bankim. Yes! It is the same Bankim Chandra Chatterji who wrote the novel‘Anandmath' which embrace the inspiring song Vandemataram.<br /><br />You may ask what is special about it? I am a Kannadiga and my mother tongue is Kannada.Over 150 years Kannada has developed a cultural contact with Bengal.<br />Important novels of Bankim, Rabindranath Tagore and Sharashandra Chatterji are translated to Kannada, way back in 1930's-70's.Even now the serious readers of literature from Karnataka read Mahaswetadevi's 'Hajar chowrwsi ki maa', 'Prachin Sahitya' of Tagore.'<br /><br />Senior Kannada professors like A.R.Krishnashastry, T.S.Venkanniah and K.V.Puttappa learnt Bengali out of interest. Indian renaissance, the influence of Ramakrishna Paramahamsa, Vivekananda and Aurobindo made Bengali culture near and dear to Kannada culture.'Prachin Sahitya' of Tagore was translated by T.S.Venkanniah and K.V.Puttappa , visionary poet of Kannada wrote inspiring biographies namely, 'Sri Ramakrishna Paramahamsa', 'Swami Vivekananda'. <br /><br />A.R.Krishnashastry's Kannada book 'Bankimachandra' is perhaps one of the best book written on Bankim in any of the Indian languages.It narrates the life mission, vision and contribution of Bankim to Indian culture.<br /><br />Now let me tell you the importance of the book 'Anusilan'.If 'Hind Swaraj'of M.K.Gandhi influenced the swadeshi movement, 'Anusilan' inspired the revolutionaries<br />of Bengal and central India. They founded an organization based on 'Anusilan'of Bankim and called their organization, Anusilan Samithi.<br /><br /><br />But alas....the official Indian historians and text book writers and so called Hindu organization have no time to peep in to the neglected real sources and write the history of the people during the independence struggle.<br /><br />'Essentials of Dharma' by Manmohan Ghosh(English translation).<br />Sribhumi Publishing Company, <br />79, Mahatma Gandhi Road, Calcutta-9 <br /><br /># posted by Third eye @ 7:43 PM 0 comments links to this post<br /><blockquote></blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115435626446827555?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-1154076288936271842006-07-28T14:13:00.000+05:302006-08-02T21:34:52.366+05:30Sanskrit, Kannada, and poet NayasenaJaina classical poets of Kannada followed the puranic framework of 'Purvapurana' of Acharya Jinasena, but not any of Vaishnava /Shaiva /Shakta mythology in Sanskrit. Kannada Jaina poets, who usually were the followers of digambara tradition, created a sound poetic logic and sensibly responded to the socio-political situations prevalent in medieval Karnataka. The best example for this is the encyclopedic Kannada work of Nayasena.<br /><br />Nayasena who was a digambara monk was originally from the village Mulagunda of today's Dharwad district of Karnataka. As is usual with Indian poets in general and Kannada poets in particular except for a few like Pampa and Ranna, he never reveals anything about himself. Scholars have opined that when he wrote 'Dharmamritam' he was a Jaina monk and this encyclopedic work of cultural significance was completed in the year A.D.1112.<br /><br />But since Nayasena's objective and conceptual focus are different from early Jaina poets to him like Pampa, Ranna and Janna, he entered in to an entirely new area of mock poetry. Jaina poets understood the situation and cultural tensions of Kannada, took initiation and they became the forerunners in the intellectual development of Kannada. It is to be noted that they set a trend that largely embraced the sacred and profane aspects of daily life. Continuing the legacy of 9th and 10th century Jaina writers, Nayasena, for the first time, set a new model of analyzing other faiths based on Jaina religion and philosophy. He juxtaposed the Jaina standpoints about life, karma and worship of the Jina against other faiths/worldviews like Vedism, Buddhism and different shaiva sects.<br /><br />Nayasena is particular about using Kannada of his times in replacement with Sanskrit. He mocks at those poets in these words: can they be called poets, who declared that they would create a good work (satkruthi) in modern Kannada and still use Sanskrit (sakkada)? , It doesn't mean that he hates Sanskrit; but only shows the wisdom of Nayasena in rejecting the use of heavy vocabulary of Sanskrit scholarship while creating a Kannada work for Kannada speaking and listening world. His commitment for the propagation of Jainism through Kannada and through his own poetry is remarkable and it is a characteristic of Jaina poets itself. His position suggests that one can use simple day- to - day Sanskrit words in a Kannada text but not the archaic use of Sanskrit for the sake of just using it. Perhaps his wit suggested him to differentiate between Kannada from Sanskrit. In this context, he uses the simile of oil and ghee to make his point: <br />If anyone wants to write in<br />Sanskrit let them, but is it right<br />if they bring Sanskrit into Kannada?<br />Is it right to mix ghee with oil? (1.42)<br /><br />Thus the genius (Prathibha) of Nayasena is not tired of stating again and again that no amount of great Sanskrit can replace the beauty of Kannada. The most noteworthy aspect is that his own work 'Dharmamritam' is a testimony to his poetic theory and practice.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115407628893627184?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com4tag:blogger.com,1999:blog-29490257.post-1153944551813492812006-07-27T01:33:00.000+05:302006-07-27T01:50:44.190+05:30My book reviews in prajavaniBook reviews on today's few Kannada poems<br /><br /><a href="http://www.prajavani.net/feb192006/4489720060219.php">Book review on Mehejabeen's ELEYUDURU KALA</a><br /><br /><a href="http://www.prajavani.net/feb122006/4420620060212.php">Book review on Lalitha Siddabasavaiaha's KEBBE NELA </a><br /><br /><a href="http://www.prajavani.net/oct162005/31547200501016.php">Book review on S. Manjunath's KALLU PARIVALAGALA BETA</a><br /><br /><a href="http://www.prajavani.net/oct232005/32237200501023.php">Book review on Mudnakudu Chinnaswamy's CHANDIRANA KANNU NUNGALARADA HUNNU</a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115394455181349281?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com5tag:blogger.com,1999:blog-29490257.post-1153939143745352702006-07-27T00:05:00.000+05:302006-07-27T00:17:01.090+05:30Alan Watts and Zen...zip...zap...zoomAre you a westerner feeling empty? Or are you an Asian who thinks that we know every thing about Hinduism, Vedantha, Buddhism and Yoga? If you say yes, then with all the humility I will ask you a simple question –have you ever read Alan Watts?<br /><br /> Alan Watts was the think tank for many thinkers of the twentieth century. If you ask me to supply an example, the name of Osho Rajneesh will come to my mind.Osho has spoken a book (because he never sat and wrote a book, all of them were transcribed)-‘The Books I Loved.’ In that he speaks on great philosophers, mathematicians and poets and their works. In the end of the book he mentions the name of Alan Watts and remembers the Biblical saying-“They also are blessed, who stand and wait.”And says that he is obliged to Alan Watts for his original thoughts and has dedicated the whole book in the memory of Alan Watts!<br /><br /> Alan Watts, who died in 1974, held both a master’s degree in theology and a doctorate of divinity, and was best known as an interpreter of Zen Buddhism in particular, and of Indian and Chinese philosophy and psychology of religion, which include <br />The Way of Zen<br />The Supreme Identity<br />The Joyous Cosmology,<br />Beyond Theology<br />Cloud-Hidden Whereabouts Unknown<br />Tao –The Watercourse Way<br />Zen<br />The Spirit of Zen<br />The Legacy of Asia and Western Man<br />The Meaning of Happiness<br />The Theologica Mystica of St. Dionysius<br />Behold the Spirit<br />The Book: On the Taboo Against Knowing Who You Are<br />In My Own Way: An Autobiography<br /><br /><br />After reading few of his books, I found a new mantra to enjoy and understand life(the order is important!). Again, I am grateful to my friend N.Ramaswamy for introducing me to this great seer.<br />----------------><br />Now a slice from his profound book- Behold the Spirit.<br /><br /><br />Zen is largely a monastic religion, although the monks do not as a rule take life vows since their stay in the monastery is often only temporary-for purposes of instruction. These monasteries are run somewhat on Benedictine lines, the rule consisting of both meditation and manual work, and the spiritual life is directed by a roshi or “master” distinct from the abbot, who attends to administrative affairs. The following instances of the Zen way of teaching are dialogues between masters and their monks or lay inquirers:<br /><br /><br />“Ever since I came to you,” a monk complained, “I haven’t been instructed at all in the study of Reality.” “Ever since you came to me,” replied the master, “I have always been pointing out to you how to study Reality.”<br /><br />“In what way, sir?” “When you brought me tea, did I not accept it? When you brought me food, did I not eat it? When you made bows to me, did I not return them? When did Iever neglect in giving you instruction?”<br /><br />Seeing that the monk did not understand, he concluded, “If you want to see, see directly into it; but when you try to think about it, it is altogether missed.”<br /><br />Sometimes these exchanges were very brief and to the point:<br /><br />“What is the real meaning of religion?”<br /> “A refreshing breeze is stirred in the blue sky.”<br /> “What is Tao (i.e., God, Reality)?”<br /> “Walk on!”<br /> “What is Realization?”<br /> “Your everyday thoughts.<br /> “What is the one ultimate word of truth?”<br /> “Yes.”<br /> “I asked, what is the one ultimate word of truth?”<br /> “I’m not deaf!”<br /> “I have just come to this monastery; please give me some instruction.”<br /> “Have you had your breakfast?”<br /> “Yes.”<br /> “Then wash your dishes.”<br /><br /> <br />I invite you to get deepen by reading Alan Watts.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115393914374535270?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com2tag:blogger.com,1999:blog-29490257.post-1153922917681123452006-07-26T19:36:00.000+05:302006-07-26T19:53:07.900+05:30Jain centre of south India - Kankagiri-MaleyurKanakagiri hill is situated just 3 km. from present village, Maleyur in the recently created district of Chamarajanagar in the southern state of Karnataka, India. Jain monuments and population are found in numerous villages like Maleyur, Harave, Kelasur, Mugur, Ummattur, Kuderu, Tagadurur, Echiganahalli and Chamarajanagar, all situated within 50 kilometer radius from Kanakagiri hill. From the city of Mysore, Kanakagiri can be reached by car or bus in this way. SStart from Mysore to Nanjanagud to Maleyur, and then travel a kilometer southwest to Kanakagiri hill.From Tamilnadu, it can be reached through Ooty to Gundalpet and Nanjanagud to Maleyur.From the state of Kerala, it can be reached via Wynad district to Gundalpet and Nanjanagud.This geographical location of Kanakagiri, thus has played an important role in religio-cultural history of the region where three southern states –Karnata,Kerala and Tamilunadu meet.<br /><br />Devachandra(C.E.1770-1841), who may be considered as the first Indian said to have undertaken about writing the history of the Nation in his Kannada work Rajavalikathasara, has also written Pujyapadacharite, in Kannada(Life-story of Pujyapada) which associates him with the sacredness of Kanakagiri kshetra.<br /><br />The legend of Kanakagiri, as a Jain tirtha/ksherta, appears to go back to a remote past as referred to in later literary works, but no historic records are available in support of the claim. Nevertheless, history of Kanakagiri as a spiritual and religious center of Jainism, based on literary sources and later records, confirm that Kanakagiri regained its tirtha/kshetra fame in early medieval times having associated with Achrya Pujyapada and his nephew and disciple Nagarjuna(c.464-524 C.E.). According to Jyothi Prasad Jain, professor of History, Pujyapada was “a prominent religious head, a great yogi, a sublime mystique and a brilliant poet, a reputed scholar, an eminent author and a master of branches of learning.” The rasayoga, an ancient science of alchemy, exploits at the hill by Pujyapuda and Nagarjuna have been referred to in a later stone inscription assigned to eleventh C.E.It refers to the hill as Kanakachala, meaning hill of gold-kanaka(gold), achala(hill).<br />Visit Kanakagiri and explore the culture of south India and south Indian Jainism.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115392291768112345?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com3tag:blogger.com,1999:blog-29490257.post-1153754037952811722006-07-24T20:35:00.000+05:302006-07-26T00:19:34.296+05:30known book by an unknown authorAfter 3 months of legroom,DeshaKaala is available in the market. By the way <a href="http://www.hindu.com/lr/2005/05/01/stories/2005050100190400.htm">Desha kaala</a> means the literary little magazine edited by Vivek Shanbhag.It is in Kannada, the official language of Karnatka,India. Vivek is in Bangalore and he is a short story writer with good literary sensibility. To appreciate his taste and my statement, you have to read the short story of ‘Jogi’ in DeshaKala July –September 2006.<br /><br /> The story, if it can be summarized runs like this.<br />Raghavendra raya, the librarian of central college on the last day of his retirement finds a book. It doesn’t have the cover page; name of the author is not there. Blurb has a list of other books written by the same ‘author’! But who is the author?<br /><br />Raghavendra is now retired and that book haunts him day and night and at last he asks his friend Desai , who is a lecturer in a college to read that book. But only to know that Desai has not only ignored the book but has lost it.<br /> Raghavenda becomes mad about the book and the the ‘author’. He was finally driven by some force to rewrite it, till he feels liberated. The dawn of next day knocks the door of literary world with the death of an unknown reader who tried to retain the story of an unknown author.That means Raghavendra is dead. What does the story suggests?It may suggest different things to different readers but I have listed down my observations:<br />-Literary world is insensitive.<br /><br />-Lecturers who are supposed to be the torch bearers of knowledge are irresponsible.<br /><br />-People who are ‘ordinary’ are much eager on culture, language than the elite class.<br /><br />-Librarians like Raghavendra who are sensible to books are very rare to find at least in Indian libraries.<br /><br />Last punch- By the way who is 'Jogi’?<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115375403795281172?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com7tag:blogger.com,1999:blog-29490257.post-1153747022488457062006-07-24T18:19:00.000+05:302006-07-24T18:51:48.820+05:30Nietche- my favourite flowerI won't call him a philosopher nor as mad.<br /><br />For me he is a flower forgot to be named by the botanists.<br /><br />His strength is poetry, which can laugh at anything.<br /><br />Belive me this all time great mind named one of his books as <br />The Gay Science<br />With a Prelude in Rhymes <br />and<br />an Appendix of Songs<br /><br />For some he is the master mind behind the German racism of Hitler, <br />for others like Ananda Coomaraswamy, the author of <em>The Dance of Shiva</em>,greatest mystique of the west. (The other two, according to him are <br />Blake and Witman).Whatever it is I won't forget this flower which continues to blossom. <br /><br />Now letus enjoy the fragrance of the two petals of him.<br /><br /><br />Rather on your toes, up high,<br />Than crawling on all fours!<br />Rather through a keyhole spy<br />Than through open doors!<br /> (Priciples of the Overly Refined)<br /><br />Do not stay in the field!<br />Nor climb out of sight.<br />The best view of the world <br />Is from a medium height.<br /> (Worldly Wisdom)<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115374702248845706?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com3tag:blogger.com,1999:blog-29490257.post-1153741468533251242006-07-24T17:13:00.000+05:302006-07-24T17:14:28.540+05:30second hand books and meMe and my second hand books <br />When did I buy the first book on footpath?<br />It was donkey years ago. When I was in Hassan, I used to come to Bangalore on dasara and summer holidays.<br />Then the buses from majestic were passing through KG.Road. Walking through areas akin to Mysore bank, Balepet, Upparpet police station, and avenue road was a feast both for the eyes and to the intellect.<br />Vision of India was the first book that I purchased in front of Upparpet police station. It was way back in1992.That was a pocket book, was published by Jaico, Mumbai. The not so bright yellow colored cover and smiling Buddha attracted me. I found my Buddha in the middle of the traffic, the crowd and the other foot path sales like chappals, clothes and banana. After much bargain I became the owner reader of the book by paying 2 Rs.<br /><br />Since then lot of water has flodded through the gutters of Bangalore. I have purchased not less than 500 books from these foot paths on various subjects like cricket, poems, novels and yoga. But how can I not remember my first book authored by Sisirkumar mitra which showed me the strength and down fall of my motherland over 5000 years? Thyerefore the first book enjoyed all my care and love. Till recently it was with me and somewhere in March 2006 I disposed more than 600 books from my collection.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115374146853325124?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com3tag:blogger.com,1999:blog-29490257.post-1152731363825605142006-07-13T00:36:00.000+05:302006-07-13T00:43:19.293+05:30Bombay blastLet's pray for the victims family and let's make the co citizens of our cities & towns alert on <a href="http://www.ultrabrown.com/posts/terrorists-blow-up-bombay-trains">Bombay</a> blast.<br /><br /><a href="<a"></a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115273136382560514?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com3tag:blogger.com,1999:blog-29490257.post-1152698377212275612006-07-12T15:26:00.000+05:302006-07-12T20:48:46.096+05:30Raja Rao - father of desi English novels<a href="http://photos1.blogger.com/blogger/4328/3143/1600/RaoHandsbw72[1].1.jpg"><img style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://photos1.blogger.com/blogger/4328/3143/320/RaoHandsbw72%5B1%5D.1.jpg" border="0" /></a><br />Hassan Raja Rao is no more. He was veteran with philosophical depth in his novels and other writings. Raja Rao is considered as the father of desi English novels. Kantapura, Serpent and the rope, The Chess master and His Moves, Cat and Shakespeare are some of his best novels. In one word, he is the father of Indian novels in English.<br />Born in a Brahmin family at Hassan (one of the most beautiful districts of Karnataka) on November 8, 1908.His mother tongue was Kannada.<br />Little information is available about his early days. His ancestors were court pundits and enjoyed the royal honors from the Mysore kings and from other princely states.<br />Rajarao’s father, Sri H.V.Krishnaswamy was a great Sanskrit scholar and led a respectful life. Raja’s mother was Gowramma and since there was scarcity for space at home she gave birth to Raja in a dharmashala. Why he is named as Raja is an interesting question. On the day of his birth king (raja) of then Mysore kingdom, Krishna raja Wodeyar IV visited Hassan town. Therefore this child was named as Raja.Later in his life he really became raja of novels.<br />For Krishnaswamy has to move to Hyderabad on job Raja too moved there, and he became the student of Madrasa-e-alia. It is interesting to note that a boy from a Brahmin family studied in a school meant only for rich class Muslims!<br />After his primary education, he moved out of Karnataka and successfully completed degree from University of Madras. Then he moved to France and studied philosophy and Christian theology.<br />Though he wrote many novels, except Kantapura, no other work has been translated in to his mother tongue. However his four articles written in Kannada were published in Jaya Karnataka (1931-32). It was a famous news paper edited by Alooru Venkatarao.His life –time dream was to write an independent book in Kannada. Though not completely, his will was completed since the unnamed novel, of him, first written in Kannada, has been translated in to English. When I was reading his website I came to know that it is published in English with the title Song of Women.<br />Raja believed in the completeness of Indian culture. But his novels never praise India just like that. Raja takes his characters to the depths and heights of human conditions. The inference the readers get is that, all human beings are one under certain conditions and therefore the narration goes beyond the artificial boundaries of race, sex and religion.<br />Though Raja is a voracious writer only few of his novels and essays are published and lot more are yet to come out of the cold print. His works on French poetry, play, yatra to India, notes which he made while teaching at Texas University in 1968-80, interviews, video tapes would come to light through the Himalayan efforts of his wife and his students.<br />Now, let me take a take a dip in the ocean of his novels.Kantapura narrates the life and struggle in the malenadu region (male-nadu= a hilly area).Since I was born and travel in the same area narrated in this novel, I guess Kantapura is solid piece of hilly regions of Hassan district especially Sakaleshapura and Alooru. Gandhi movement, village life, idealism of the India’s freedom struggle makes the background of this novel. The song that is sung in front of Devi Kenchmma at Hosahalli is translated in his own style of English by the author.<br />Just think about the days when Raja started building the novels. Then novel writing was the monopoly of Europeans and Americans. Names like Dickens, Thackeray were in the air. In India Bankim, Tagore were the only major novelists.Raja wrote novels English, with Indian fragrance in it. India - its soil, idioms and most importantly its soul got proper place in his world of creativity.<br />Personally as a student of Kannada and Sanskrit I consider place Raja Rao in the band of Kannada novel masers like Shivarama Karanth, Kuvempu and S.L.Bhayrappa.No matter for he may have written in English, but his sensibility is neither British nor American.Infact the sanctum sanctorum of the altar of his novel has adhyatma (quest for self).His head may be there in the west but his atman is firmly rooted in the land between three seas and the devatatma (soul of the gods) Himalaya.<br />Whenever I have read him I felt there is a triangle in it! Baffled? Let me describe. Raja has three worlds in his novels and they are:<br />a. Kannada universe- it means the land, the culture of Kannada speaking people.<br />b. Indian culture- means the history, the people, gods, sages, literature, fine arts, kings and kingdoms of Bharath that is India.<br />c. Rest of the world –means the cultural diversity, past and cultural roots of the other world.<br />I am not ready to compare him with Thomas Hardy, Charles Dickens and E.M. Foster. If I have to do so then, I will compare his novels with that of Dostoevsky, Tolstoy and James Joyce.<br />When first time I picked up his book I asked my self- what is his source? This question was there in my mind for many years. And when I read his major novels then I found the answer. Dharma (which is different from the European way of structured religion and similar to the Chinese Tao), art, mathematics and linguistics form the four elements of his source and he himself is the fifth source. If one has experienced India and look beyond the official academic divisions like ancient-medieval and modern India, then they will understand what Raja Rao meant in his novels. His India is an undivided India from the point of both time and space.<br />If you look at his life, at the first instance it seems to be an odd mixture of experiences difficult to comprehend. Traditional family, education in a non-Hindu environment, association with The European and American culture, teaching philosophy in the universities-these forms one face of him. There is another component which is much deeper than the former. As I understand from his writings he always wanted to transform words in to mantra. He took the challenge of purifying English by dipping it in the Ganga and Kaveri rivers! There is a word in spiritual practice called initiation (deeksha).In my opinion, he bestowed initiation to the very language itself. This is the deeper side and most exceptional thing about him. Added To English, I have read on Raja Rao from the writings of Kannada writers like H.M.Nayak,G.S.Amur, L.S.Sheshagiri Rao , Nanjunda Shastry(he translated Kantapura in to Kannada).But though his sensibility is no t far away from Karnataka, there is not a single book on him in Kannada.<br />When I was doing B.A. in Hassan , I was introduced to Kantapura by my friend N.Ramaswamy(One gloomy thing about my friend is that he read and digested so much, but never writes anything).Afterward when I was working on my research on Jainism for Ph.D., in Mysore, spent much time reading on topics not related to the research topic. Of that Raja’s writings took lion share.<br />Now it is the time to summarize my thinking on Raja Rao, but before that I want to debate on the lines by Khushwant Singh on my favorite writer. First let me quote from K.Singhs autobiography: “But, to be honest, what inspired me to write were not great authors but second-rates, mainly Indians, who had the been published in England and the United States. I read Mulk Raj Anand, Raja Rao and R.K.Narayan. I felt I could write as well as they, and if they could be published abroad, so would I.I was not far wrong in my self-estimate.”(Truth, Love and a little malice) So much malice isn’t it? In my opinion Delhi and Train to Pakistan are the best of Khushwant. If you are not reading rest of the gist including this autobiography, you are not going to loose anything.Writers like K.Singh are born in every century in plenty in most of the literary languages, but it is very rare to find one more Raja Rao. In the ocean of novels tides will come and go but Raja’s writing has permanent mark on third world English and therefore it is going to stand like the huge statue of Gommata of Sravanabelagola.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115269837721227561?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com11tag:blogger.com,1999:blog-29490257.post-1152547915122034412006-07-10T21:34:00.000+05:302006-07-10T21:44:55.873+05:30Untouchables in ancient India<em>This review was published in The Hindu , Friday review on June 03 , 05</em><br /><strong><em></em></strong><br />The Book reviewed<em> </em>is<em> <strong>Shudra's in ancient India( Prachina Bharatadalli Shudraru ) by R.S. Sharma</strong></em><br /><br />This book is based on a rare study by Prof. Ramachandra Sharma about the working class (castes) of ancient India between 1000 BC and 600 AD, identified as shudras by the upper caste.<br />Translated into Kannada by four Kannada scholars, the book records the life and times of the shudras based on the literary evidences drawn from Buddhist, Jain and Vedic sources.<br />According to the author, the shudras formed a major chunk of the national populace and performed the duties of water suppliers, dancers, barbers, and beauticians.<br />The presentation has clarity and is chronologically ordered. The central argument is very difficult to trace, but a close reading reveals that the book tries to construct the increasing oppression and the growth of slavery system in India. It makes a fine distinction between dharma and jaati and the author opines that all efforts made by Jain, Buddhist and Tantric religions for the betterment of shudras, never progressed beyond the religious domain.<br />What's heartening is that while the work gives a vivid picture of oppression, it also lucidly records the protest and improvement in living conditions after the Mauryan era. The central argument of the book has to be inferred by the reader, having read through the mass of authentic material quoted in the text.<br />Since the author has a preoccupation with Kautilya's thinking, he finds it difficult to reconcile Kautilya's Arthashastra with other literary sources of the Mauryan period.<br />This book is valuable mainly for drawing attention to many sources, but the author does not seem to connect the sources to build up a thesis. One of the shortcomings of the book is that it completely neglects the condition of the shudras in South India. Since the issues of the shudras has contemporary relevance and since the book gives a vivid picture of them under various regimes up to the Gupta period in the north, it becomes a major book that helps in an understanding of the socio-cultural history of India.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115254791512203441?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com6tag:blogger.com,1999:blog-29490257.post-1150742952222190272006-06-19T23:54:00.000+05:302006-07-27T01:22:08.863+05:30My little world of writing on web<a href="http://www.prajavani.net/feb192006/4489720060219.php">Book review on Mehejabeen's poetry</a><br /><br /><a href="http://prabhupada.krishna.org/Articles/2002/05/038.html">http://prabhupada.krishna.org/Articles/2002/05/038.html</a><br /><br /><br /><a href="http://www.ourkarnataka.com/hangama/narahari.htm">http://www.ourkarnataka.com/hangama/narahari.htm</a><br /><br /><a href="http://www.hindu.com/fr/2005/06/03/stories/2005060303820200.htm">http://www.hindu.com/fr/2005/06/03/stories/2005060303820200.htm</a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-115074295222219027?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0tag:blogger.com,1999:blog-29490257.post-1149887009110737252006-06-10T02:23:00.000+05:302006-06-10T02:33:29.116+05:30Eric Hoffer & hysteric mass movementsToday I read a book , The true believer by Eric Hoffer . It speaks about people , politics faith and causes of bloodshed . For the first time the author has tried to analyse the madness in the form of ideologies that has governed human mind. His analysis ranges from christianity to communism.<br />Some days back veteran actor of kannada film land , Dr. Rajkumar died . His fans and others took advantage of the situation . The mob was totally uncontrollable. It was a dance of anarchy.<br />I was wondering whether these fanatics have any logical association with their act? I found a satisfying answer for the mob mentality. However , this phenomenon is not only restricted to a particular walk of life . Film , sports ,politics , religion are not far from this mentality.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/29490257-114988700911073725?l=thirdeyemoment.blogspot.com' alt='' /></div>Third eyehttp://www.blogger.com/profile/01274119186954114301noreply@blogger.com0